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Dissertations / Theses on the topic 'The female nude'
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1
Stubblefield, Shannon. "The nude female performer." Thesis, Mills College, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1562505.
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<p>A live nude female performer can occupy a powerful identity equal to a man because she willingly places herself in front of an audience. She commits to this state of profound vulnerability as a means of gaining ownership of her body that men by virtue of their power in society take for granted. The female body occupies physical space, unlike how a body image seen on a television or in a magazine does. The actuality of the live female nude creates a transformation from the purely sexualized body to an authentic female nude body. This authentic female nude body, via her control of her physicality, is a “loud” and often rejected body. The acknowledgement of her authenticity is an acknowledgement of her power and this is common ground on which the female audience member and performer can relate intersubjectively. On the surface, it seems the most effective solution to eliminating objectification and this obstruction of the female body would be to take focus away from her body. Yet paradoxically, female subjects have altered these culturally shaped identity norms of objectification through nude performance, liberating the hyper-sexualized projections attached to the female body and replacing them with symbols of innocence, creativity and power. </p>
2
McEwin, Florence Rebecca. "American women artists and the female nude image (1969-1983)." Thesis, North Texas State University, 1986. http://catalog.hathitrust.org/api/volumes/oclc/23638110.html.
Full textAbstract:
Thesis (Ph. D.)--North Texas State University, 1986.<br>Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 367-404).
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Winthrop, Emily. "Allegories of the Modern: The Female Nude in Art Nouveau." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4203.
Full textAbstract:
Modernism is a plurality, not a singular concept. This project explores examples of Art Nouveau nudes to describe the particular expressions of the modern through varied and complicated allegorical bodies. The female nude as a nexus for ideals of gender, art, and beauty, is informed by and constructs the understanding of these ideals within society. Art Nouveau thus employed the nude to represent complex manifestations of modernity. Three diverse cases provide the subjects of each chapter. All explore modernism through objects and interiors, in public and private environments, and each connects the decorative arts with accounts of European modernism in the late nineteenth and early twentieth century. The modernist movement, in these decades, is still predominantly understood through painting.
This project draws its case studies from Paris, Glasgow, and Vienna, each a distinct cultural arena during the 1890s and 1900s: the sculptural furniture of François Rupert Carabin (1862-1932); the metalwork of Margaret Macdonald (1865-1933) and her sister Frances Macdonald (1873-1921); and the graphic motifs of Ver Sacrum, created by the artists of the first Vienna Secession (1897-1905). In conception and expression, these nudes articulated the diverse representational practices of different modernisms. They each embody drastically different histories, aesthetics, and social expressions. Their varied modernisms expose the prominent nationalism of Art Nouveau. Examination of these three very different cases expands and complicates current understandings of the nude, allegory, and the modern.
4
McCusker, Nicole Catherine. "Performance, Art and the Female Nude at Dr Sketchy's Anti-Art School." Thesis, University of Canterbury. Social and Political Sciences, 2012. http://hdl.handle.net/10092/7656.
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My thesis examines the event of Dr Sketchy's Anti-Art School, which has branches in over 120 cities worldwide. Dr Sketchy's combines the format of a life drawing class with burlesque performance, creating an event that focuses on both the performance and the creation of art by the attendees. Dr Sketchy's was begun in New York in 2005 by its creator Molly Crabapple, now an internationally recognized artist and popular alternative celebrity. I focus my study on the Christchurch branch of Dr Sketchy's Anti-Art School, founded in June 2010 by Audrey Baldwin, a performance artist and Fine Arts graduate of the University of Canterbury.
In my thesis I discuss the way Dr Sketchy's Anti-Art School combines and compromises between the life drawing format and the burlesque performance, despite the differences and seeming incompatibilities between these two forms. I investigate Dr Sketchy's as a contemporary cultural performance which combines and to some degree inverts established genres of performance. I give a detailed history of burlesque performance and of life drawing within art education to allow a comprehensive comparison of the two traditions, particularly the way each has conceptualized the nude female body. I argue that the combination of the two forms allows Dr Sketchy's Anti-Art School to transgress the traditional boundaries of each format and introduce influences that would otherwise endanger the status of life drawing and burlesque performance within their respective contexts. I also argue that the nude within Dr Sketchy's Anti-Art School transgresses the traditional conception of the nude within life drawing by using burlesque as an acceptable reference for the transgressive elements of the show.
The arguments put forward in this thesis are the product of extensive participant observation, interviews and literature reviews on the relevant art and performance traditions.
5
Tolley, Rebecca. "Review of Curve: The Female Nude Now, by David Ebony & others." Digital Commons @ East Tennessee State University, 2004. https://dc.etsu.edu/etsu-works/5723.
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Suescun, Pozas María del Carmen. "Modern femininity, shattered masculinity : the scandal of the female nude during political crisis in Colombia, 1930-1948." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85958.
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This dissertation examines two controversies involving paintings of the female nude by artists Debora Arango and Carlos Correa during a period of political crisis in Bogota (Colombia) in order to open the political to cultural analysis and thus shed light on scenarios of change in the 1930s and 1940s. Unpacking the controversies lends insight into the unique ways in which modernity, the body, its representations, sexuality, gender and politics came together in Colombia during this period. Such an approach also shows that modernity in Colombia involved shifts in religious and secular frames of sense-making and morality. This dissertation argues that the controversies and the female nudes provide a window into the Liberal regime's creation of culture as an autonomous sphere as part of its cultural program, which bridged high and popular culture, as well as on aspects of private life concerned with sexuality and gender. It shows how such changes registered in the lives of the artists and how the artists translated the changes they experienced into modes of pictorial expression. This dissertation argues that the demands of the aesthetic and the demands of politics during this period pressed on each other, resulting in the wide-spread perception of moral breach that came to a head in the "scandals of the female nudes." This dissertation thus sheds light on dimensions of both the political and the private during this period.<br>Because art and politics were thus entangled, this dissertation shows that, in this particular Colombian modernity, society was not polarized, that the private and the private overlapped, that issues of intimacy surfaced in the public realm, and that Catholicism was the idiom shared by men and women who were grappling with change. It shows that the cultural program of the Liberal regime was the immediate referent for criticism in these events and, through it, of the Liberal regime's reforms of education of 1934 and 1936. Finally, it shows that this modernity and its attendant anxieties were played out through the body in the public and the private realms, within, not against, the Catholic tradition, in unprecedented ways. This thesis demonstrates that politics and issues of sexuality and gender were entangled in the public sphere and converged in the female nudes, turning them into a major threat to morality within both religious and secular frameworks. By unpacking the controversies, this dissertation marks a seminal break with historical accounts that describe Colombia's as a failed modernity, its society as polarized, and debates over sexuality and gender as the product of politics. This dissertation also contradicts art historical writings that account for the production of images and the reception of art in this period solely in political terms.
7
Forman, Sophia R. "Bringing Back Color, Bringing Back Emotion: Exploring Phenomenological Empathy in the Reclamation of the Female Nude in Painting." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/187.
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At the nexus of the seemingly disparate art-theoretical topics of color and the female nude is a critical consideration of phenomenology in both one of its most basic senses—as the first-person experience of perceived phenomena—and as a larger philosophical position which, through its abstraction of perception to subject-object relationships, implicates the painted figure. Specifically, this paper conflates the phenomenology of color with the transcendental phenomenology of Edmund Husserl and Maurice Merleau-Ponty in investigating empathy. Structured as a dialectic, it establishes the most prominent views of both color and the female nude—the nude as a symbolic figure, color as perceptual experience—before delving into their various points of theoretical and art-historical intersection within these categories. This analysis ultimately forms the argument that color can be a powerful tool in reclaiming the female nude figure, stimulating emotive bodies that inspire empathetic viewers and intersubjective rather than objectifying, or abjectifying, dialogues.
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Cronje, Karen. "The female body as spectacle in nineteenth- and twentieth-century Western art." Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52528.
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Thesis (MA)--University of Stellenbosch, 2001.<br>ENGLISH ABSTRACT: A spectacle denotes an impressive or deplorable sight, and necessarily involves the
power and politics of viewing. The female body exists as a sexualised object of these
processes of looking within Western culture, not only in high art, but also in
discourses such as medicine and science. In both art and medicine the female body
has been treated as a passive object to be studied, analysed and classified. Power
relations and patriarchal ideologies have played a great part in the resulting
objectifying representations, firmly locating images of the female body within the
realm of the spectacle.
Bodily perceptions, in terms of the female body, have changed much, particularly
through the reinterpretation of sexuality through feminist theory. Modem culture and
technology have opened up many new possibilities for the redefinition and
understanding of the body. Modem bodies seem to be under as much close
surveillance and scrutiny as their nineteenth century counterparts. This study explores
these ideas through a wide range of examples from painting, photography and
performance art, and non-art objects such as anatomical objects and medical
illustrations.
Central to the construction of the body as spectacle, are issues of looking and viewing.
Chapter 1 examines ideas around the gaze; the politics and processes of vision,
objectification and fetishisation are explored in relation to the functioning of the
medical and aesthetic gaze. The concept of spectacle is also elaborated upon in terms
of ideas around the nineteenth century carnival and freak show, and in terms of
societal taboos and transgression.
Aspects of aesthetic and medical discourse focus on the display and scrutiny of the
female body. Chapter 2 examines the way in which these discourses attempted to reveal the female body by rendering it in highly visual terms. The dominant
ideologies informing both discourses played an instrumental role and resulted in
representations that defined the female body in normative standards and ideals of
beauty and health. Pornography is considered as a modem discourse in which the
female body is defined and displayed as an object of scrutiny. Feminist theory
challenged exclusively male representations of the female body and the subversion of
traditional forms of representation of women is studied by examining the work of
Annie Sprinkle and Cindy Sherman.
Many representations of the female body by feminist artists are considered highly
disturbing and transgressive, precisely because they traverse traditional and
acceptable representations of it. The idealised nude forms the epitome of contained
ideals of health and beauty, and the work of Orlan and Cindy Sherman is examined
within these terms in Chapter 3. These artists' representations of the female body are
in direct opposition to such norms, rather settling for an open-ended, unconfined and
abject representation. However, such transgressive cultural images produced by
women artists are often regarded as pathological acts, and dismissed in terms of
deplorable spectacle.
The research concludes with a commentary on the candidate's practical work, which
in dealing with the representation of the human body explores some issues of
visuality, spectacle and fragmentation.<br>AFRIKAANSE OPSOMMING: 'n Spektakel kan op 'n indrukwekkende of betreurenswaardige skouspel dui;
gevolglik betrek dit die politiese en magseienskappe van besigtiging. Die vroulike
liggaam bestaan as 'n seksuele objek van só 'n proses van besigtiging binne die
Westerse kultuur - nie net in kuns nie, maar ook in diskoerse soos geneeskunde en die
wetenskap. In beide kuns en geneeskunde, is die vroulike liggaam beskou as 'n
passiewe objek vir bestudering, analisering en klassifisering. Magsverhoudinge en
ideologieë het gevolglik 'n groot rol gespeel in die uiteindelike objektifiserende
representasies, en gevolglik is die uitbeelding van die vroulike liggaam in terme van
spektakel vasgelê.
Liggaamlike persepsies, veral in terme van die vroulike figuur, het noemenswaardige
veranderinge ondergaan - veral deur die hervertolking van seksualiteit deur
feministiese teorie. Moderne kultuur en tegnologie bied verdere moontlikhede vir die
herdefiniëring en begrip van die liggaam. Die moderne liggaam word onder streng
bewaking en betragting geplaas - net soos sy negentiende-eeuse ewebeeld. Hierdie
studie ondersoek dié idees deur die bestudering van 'n verskeidenheid voorbeelde
vanuit skilderkuns, fotografie en 'performance' -kuns, asook objekte soos anatomiese
objekte en mediese illustrasies.
Kwessies van besigtiging is sentraal tot die konstruksie van die liggaam as spektakel.
Hoofstuk londersoek dus idees rondom besigtiging - onder andere die politiese en
magseienskappe, en die gevolglike objektifiserende effek daarvan - in verhouding tot
die funksionering van die mediese en die estetiese blik. Die konsep van spektakel
word verder uitgebrei in terme van die negentiende-eeuse karnaval, asook in terme
van taboes en sosiale oortreding. Sekere aspekte van estetiese en mediese diskoerse fokus op die vertoning en
besigtiging van die vroulike liggaam. Hoofstuk 2 ondersoek die wyse waarop hierdie
diskoerse die vroulike liggaam in hoogs visuele terme uitgebeeld het. Beide diskoerse
is gemotiveer deur dominante ideologieë, wat gevolglik 'n instrumentele rol gespeel
het in die uitbeelding van die vroulike liggaam. Sulke uitbeeldings is dikwels
gemotiveer deur standaarde en ideale van skoonheid. Gevolglik word pornografie in
hierdie hoofstuk bespreek as 'n moderne diskoers wat georganiseer is rondom die
vertoning en besigtiging van die vroulike liggaam. Feministiese teorie skep 'n
positiewe ruimte waarin sulke eksklusiewe, manlike definisies en uitbeeldings van die
vroulike liggaam uitgedaag kan word. Die omverwerping van tradisionele metodes
van uitbeelding word hier ondersoek deur die werk van Annie Sprinkle en Cindy
Sherman te bespreek.
Die herdefiniëring van die vroulike liggaam deur feministiese kunstenaars word
dikwels beskou as onstellend; waarskynlik omdat dit tradisionele en aanvaarbare
uitbeeldings van die liggaam oortree. Die werk van Orlan en Cindy Sherman word in
terme van sosiale oortreding in Hoofstuk 3 ondersoek. Die klassieke naakfiguur stel
die ideale van skoonheid en stabiliteit voor. Hierdie kunstenaars se uitbeeldings toon
egter 'n doelbewuste verontagsaming van sulke ideale, deurdat hulle eerder 'n oop,
onstabiele en gefragmenteerde figuur uitbeeld. Oortredings van kulturele norme deur
vrouekunstenaars word dikwels beskou as patalogiese aksies; en dit word dus maklik
afgekeur as 'n spektakel.
Die navorsing word afgesluit met 'n bespreking van die kandidaat se praktiese werk,
wat die uitbeelding van die menslike liggaam ondersoek. Gevolglik word kwessies
van besigtiging, spektakel en fragmentasie verder ondersoek.
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Thompson, Thomas S. "The Maturing of Rembrandt (1630-1662): Four Stages of Expressive Development in the Depiction of the Female Nude in Drawings and Etchings." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1400512462.
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Kok, Cornelius Wilhelmus. "Molecular characterization of human vaginal mucosa obtained from fresh harvest and implants in an experimental nude mouse model." Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6879.
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Thesis (MMedSc )--University of Stellenbosch, 2011.<br>ENGLISH ABSTRACT: The present study investigated in particularly the specific nature of the supporting stromal layer
located between the implanted human cyst and host murine tissue, which has yet to be reported.
During an initial phase of this study, the particular light microscopic properties of the existing
hematoxylin and eosin (H&E) stained experimental cyst was investigated, with regards to the
presence or absence of specific morphological features, namely spongiosis, exocytosis, epithelial
keratinization, epithelial thickness and hyperplasia, and the vascularity and fibrosis present in the
stroma of these experimental sections. Subsequent analysis reported significant spongiosis, in
addition to increased exocytosis of immune cells and epithelial keratinization in a number of
cysts. Additionally, increased epithelial thickness and hyperplasia was reported in only 2 / 10
experimental tissues, whereas increased vascularity was observed in the stroma following
analysis of H&E and Special staining, such as Verhoeff-von Gieson and Masson trichrome
results.
During the second phase of the study, immunohistochemical analysis with a particularly wide
array of antibodies raised against specific human and mouse antigens had been applied. This
involved automated immunohistochemical staining with mouse anti-human primary antibodies,
in addition to manual staining with rabbit anti-mouse primary antibodies. Subsequent
visualization was achieved by means of linking to biotinylated secondary antibodies, and
Streptavidin-HRP incubation for standard visualization, followed by counterstaining with
Hematoxylin.
Maintained positive expression of cytokeratins 5, 13, and 14 was demonstrated in both control
human vaginal mucosa and experimental cysts, whereas similar findings were not reported for
cytokeratin 1, given the vast keratinization which was observed. Human collagen type IV and
laminin of the basement membrane reported positive expression in 9 / 10 and 6 / 10 control
human vaginal mucosa tissues respectively. In comparison, negative mouse collagen type IV and
laminin was reported in most experimental cysts compared to positive staining in positive control
mouse tissues.
Immunohistochemical staining for human elastin, fibronectin, von Willebrand factor, and
fibroblasts revealed maintained positive staining in all control human vaginal mucosa and
experimental cysts. However, maintained expression of CD34 (endothelial marker), CD1a
(langerhans cells), and human VEGFR-3 in experimental cysts was not demonstrated, compared
to positive expression in control human vaginal mucosa.
Subsequent analysis of murine antigens illustrated uniformly negative staining for mouse
fibronectin, langerhans cells (CD207), and fibroblasts, in addition to negative staining in positive
control mouse tissue sections. Furthermore, negative staining for mouse VEGFR-2 was reported
in all experimental cysts; however strong positive staining of this marker in mouse kidney tissue
had been reported.
The findings of this study suggested that the exact nature of the stromal layer is of both human
and murine origin. Furthermore, the tissue region located beneath the human vaginal epithelium
is suggested to be of human nature, whereas the second distinct region located at the periphery of
experimental cyst tissues, is suggested to be murine origin; however the findings of
immunohistochemical analysis could not illustrate definitively the exact nature of the
intermediate stromal layer, but could in fact demonstrate a mixture of human and murine tissue.<br>AFRIKAANSE OPSOMMING: Die huidige studie het die spesifieke molekulêre en histologiese eienskappe van die stromale laag
geleë tussen menslike sist- en muis velweefsel bestudeer, wat tans nog nie bekend is nie.
Gedurende die eerste fase van hierdie studie is die besondere lig-mikroskopiese eienskappe van
die bestaande hematoksilien en eosien (H&E) eksperimentele siste bestudeer, met betrekking tot
die aan- of afwesigheid van spesifieke morfologiese eienskappe, naamlik spongiose, eksositose
van immuunselle, epiteel keratinisasie, epiteel dikte en hiperplasie, en laastens die stromale
vaskulariteit en fibrose. Gevolglike analise het daarop gedui dat beduidende spongiose,
eksositose en epiteel keratinisasie gevind word in die eksperimentele siste in vergelyking met
kontrole vaginal weefsel. Hierteenoor is die verdikking van die epiteel en hiperplasie in slegs 2 /
10 eksperimentele siste gevind, terwyl vermeerderde vaskulariteit aangedui is na gevolglike
H&E en spesiale (soos byvoorbeeld Verhoeff-von Gieson en Masson trichrome)
kleuringsresultate.
Die tweede fase van die studie het die immunokleuring met verskeie mens- en muis spesifieke
antiliggame behels, waarby die uitdrukking van verskeie mens antigene vergelyk is met dié van
muis. As sulks is ge-automatiseerde immunohistochemie toegepas met muis primêre
antiliggame, tesame met fisiese kleuring met konyn primêre antiliggame toegepas. Gevolglike
visualisasie is aangedui deur middel van binding met sekondêre antiliggaam en Streptavidin-
HRP, gevolg deur teenkleuring met Hematoksilien.
Algehele behoud van positiewe uitdrukking van sitokeratien 5, 13, en 14 is bevind, terwyl
sitokeratien 1 uitdrukking nie daarwerklik vergelykbaar is met dié van kontrole mens vaginale
weefsel nie. Die uitdrukking van mens kollageen IV en laminien van die basaal membraan is
verder bestudeer, en het egter positiewe kleuring in 9 / 10 en 6 / 10 van kontrole mens vaginale
mukosa aangedui. In vergelykking hiermee kon die huidige bevindings egter net positiewe
kleuring in 4 / 10 en 3 / 10 eksperimentele siste vir kollageen IV en laminien onderskeidelik,
illustreer.
Immunohistochemiese analise van menslike elastien, fibronektien, von Willebrand (vW) faktor
en fibroblaste het op deurgaans positiewe uitdrukking van hierdie merkers aangedui in beide
eksperimentele en kontrole menslike weefsel. In teenstelling hiermee is volgehoue uitdrukking
van CD34 (endoteel merker), CD1a (Langerhans sel merker) en mens VEGFR-3 in
ekperimentele siste egter nie illustreerbaar nie, in vergelykking met deurgaans positiewe
uitdrukking van hierdie antigene in kontrole mens vaginale mukosa.
In opvolging is deurgaans negatiewe uitdrukking van muis fibronektien, langerhans sel (CD207)
en fibroblaste bevestig, terwyl negatiewe kleuring ook deurgaans in positiwe kontrole muis
weefsel, bekom deur die disseksie van ‘n naakte muis, gevind is. Verder is ook negatiewe
kleuring vir VEGFR-2 in alle eksperimentele siste gevind, terwyl egter sterk positiewe kleuring
in muis nierweefsel as positiewe weefsel gevind is.
Die resultate van die huidige studie het daarop gedui dat die stromale laag onderliggend tot mens
vaginale epiteel van menslike oorsprong is, terwyl die periferale stroma onderliggend tot muis
velweefsel, ongetwyfeld van muis oorsprong is. Laastens kon die spesifieke oorsprong van die
tussenliggende stroma nie aangedui word nie, maar dat dit moontlik uit beide menslike- en
muisweefsel bestaan.
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Buttigieg, Lawrence. "Addressing the self through the subjectivity of the other : a practice-led investigation of a particular artist-model relationship." Thesis, Loughborough University, 2014. https://dspace.lboro.ac.uk/2134/16148.
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As an artist working with the female model, this practice-led research examines concepts of alterity and subjectivity while challenging the dominant role of male subjectivity in the western world. It revolves around the relationship between myself and the female subject, a specific woman who within the context of my work epitomises but at the same time transcends womanhood. This undertaking suggests that my representations of her body grow out of a dialectical tension between the feeling that the female other has almost become a metonymic extension of myself, and the awareness that such a feeling is at the same time illusory. The practical component of my investigations takes the form of body-themed box assemblages which are reminiscent of polyptychs, tabernacles and reliquaries. However, the sacred images which form part of these ecclesiastical items are replaced with others showing close-ups of the fragmented bodies of the model and myself. While this kind of profane artefact acts as a receptacle for our bodies which are broken down and enshrined together with other objects, it constitutes part of an ongoing process whereby the relationship between myself and the female figure is metamorphosed, re-shaped, and re-visioned. The significance of these creations is meant to extend beyond their artefactual existence and become mediums through which I re-visit female sexuality and eroticism and assess them within a spiritual context, albeit in the circumscribed framework of a particular woman. The artefact s ultimate objective is to appease my innate desire to access the other via a self-reflexive process which involves both mirroring and distancing at one and the same time. This process also includes an exploration into the spiritual with the aim of exploiting that which is other in the western theological tradition, namely God and the Divine. The gaze is also deeply involved in this exploration of the other. In fact, while our bodies are subjected to a re-visitation and trans-valuation in parts through multiplication and fragmentation, the gaze is in the process broken down into a series of glances which originate from myself, the viewer or the female subject. This process questions and disrupts the dominance of the male gaze, and its associated precepts, in Western visual culture. Finally, by correlating the model s body with the divine, my artefacts seek to give this woman, as an embodiment of the true other, a trans-corporeal identity. Rather than seeking to exert control over the other, they provide a pious space wherein the self and the other are able to encounter each other in a manner that initiates an equitable relationship, unhindered by presumptive knowledge. This is aided by the aesthetics and dynamics underlying the box assemblage which, while expressing gender fluidity and encouraging disengagement from preconceived dogmas a sort of reverse cognition also enhances the experience of its deific symbolism.
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Kreilinger, Ulla. "Anständige Nacktheit : Körperpflege, Reinigungsriten und das Phänomen weiblicher Nacktheit im archaisch-klassischen Athen /." Rahden/Westf. : Leidorf, 2007. http://www.vml.de/d/detail.php?ISBN=978-3-89646-982-3.
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Tell, Cornelia. "Vem får vara naken på Instagram? : En jämförande bildanalys av fotografier som tagits ner från, respektive tillåtits finnas kvar på, Instagram." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-406944.
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The aim of this essay is to examine the censorship that the social media platform Instagram exerts over pictures of female nudes, and whether the body type of the women depicted is a factor in how the censorship is carried through. This is executed by making a comparative picture analysis of eight nude photos published on Instagram, four of which are allowed on the platform and four which are not, and have therefore been deleted. The bodies are analysed, and aspects of how they are depicted which are related to the Instagram Community Guidelines, and furthermore if the body depicted conforms to the norms of our contemporary beauty standards and “the Male Gaze”, are reviewed. This fundamental part of the study isbased on the formal analysis and the methods of semiotics. Furthermore, the history of the nude in art, the body norms and ideals of our contemporary society, the Instagram Community rules and Guidelines and the artists are presented briefly. The discussion which has been carried through is based on the analysis and thesis of how female nudes of the Western art cannon have been received, judged, divided into categories and censored to answer the central inquires of the essay. In conclusion, this essay finds how pictures of nude women on Instagram are received, judged, and censored differently depending on whether they fit into the norms of beauty and conform to the male gaze. Hence, the rules of Instagram are found to have been followed through with double standard and bias.
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Höljö, Nikolina. "Att kliva utanför ramen : Nakenhet, feminism och kritik av tre performanceverk från 1960- och 70-talet." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-357940.
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This essay examines the performance artworks Action Pants: Genital Panic (1969), Interior Scroll (1975) and S.O.S Starification Object Series (1974-82) by artists VALIE EXPORT, Carolee Schneemann and Hannah Wilke. The objective is to analyse the expressions of these artworks, from a theoretical viewpoint of feminist art-theoreticians and their critique regarding the female body in representation. Performance- and body-art have been the subject of discussion with respect to the female nude in the history of art, and the patriarchal structures that surround it. These eminent theories about the female body in art differ from one another, leaving this study to investigate given works and the explicit body-language that unites them, with the aim to identify a favourable representation of the female body in 1960sand 70s performance art with the vantage point of these artworks. The present essay has demonstrated that vaginal iconology exists in all works and can be presented in various ways. It becomes clear that the work of VALIE EXPORT provides a framework most suitable as a feminist, critical strategy to counteract the notion of the male gaze, framing, and representation of the body as commodity in capitalist-society. However, the works of Schneemann and Wilke, with more essentialist themes, can through ambiguity contribute to a positive representation of woman in representation. There is no simple answer to which way 2 of using the body is the most beneficial for feminism, however, a critical representation of the female body in performance and body art, in relation to the artists’ own intentions, creates positive ambiguity, thus these artworks do not only reinforce patriarchal conventions regarding the female body.
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Salamandra, Lisa. "Le corps écorché, dépecé, recomposé." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H322/document.
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La recherche de cette thèse s’articule autour de mon travail plastique de la série « Raw Meat » où je me sers exclusivement de l’image publicitaire de viande crue que je détourne pour construire des corps féminins. Elle répond à la question suivante : Pourquoi sommes-nous affectés par la vue, par l’aspect de la matière de la viande crue ; et pourquoi sommes-nous davantage affectés lorsque la viande crue forme – ou fusionne avec – le corps de la femme ? L’origine de la force de cette image est ciblée comme issue de notre passé primitif ; la recherche soulève nos liens les plus profonds avec la chair animale et ses pratiques liées aux sociétés primitives, et démontre comment les mythes, les rites, et les interdits autour du corps animal/humain sont toujours à l’œuvre. Nous soutenons les hypothèses d’une image comestible, de l’œil cannibale, de la pulsion scopique au sein d’une œuvre, du regard pulsionnel, voire criminel de l’artiste, de la cruauté de l’être, du dévoilement, de l’image violente (de la femme) et de sa sublimation. Nous regardons comment les différents mécanismes à l’œuvre dans l’image de la femme, à l’instar de la série « Raw Meat », permettent une multitude d’interprétations de la chair, dont les sens vont de notre passé primitif à notre contemporanéité. Notre plaidoyer pour cette polysémie est celle de la nécessité de cette image « vraie » de femme, à l’image de son émancipation<br>The research of this thesis focuses upon a series of my artwork in which I utilizeadvertisement photographs taken from local supermarket flyers that depict raw meat. I use these to construct female figures. The research responds to the inquiry: Why are we affected by the image of raw meat; and why are we even more so affected when the images of raw meat compose – or fuse with – the female figure? The origin of the effect this image has on the spectator is targeted as being found within our primitive past; stemming from our relationship with the animal flesh, and thus with the animal itself. We illustrate our profound ties to the animal, including surrounding acts which were an integral part of daily lives in primitive societies. We show how the myths, rites, and taboos, associated with the animal/human body are still at work today. The research supports different hypotheses: the edible image, the cannibal’s eye, the “scopique” impulse within an artwork (relative to the eye), and the criminality of the artist, a being’s cruelty, the unveiling of the body, violent images (of women) and their sublimation. We plead the necessity of this never-been-seen-before, polysemous, “true” image of the female figure whose significance spans from our primitive past to contemporary societies; as one of her emancipation
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Brendel, Maria Lydia. "Allegorical truth-telling via the feminine Baroque : Rubens' material reality : reframing Het pelsken." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ55305.pdf.
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Carnvik, Sofia. "Jag tänker på mig själv som en nakenakt : En studie av Marianne Lindberg De Geers skulptur Jag tänker på mig själv i relation till nakenakten som motivkategori." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-377652.
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The aim of this thesis is to describe and analyze the Swedish artist Marianne Lindberg De Geer’s public sculpture Jag tänker på mig själv in relation to the female nude as a traditional motif within the western art and aesthetic. The artwork in question depicts two naked upright standing women, one of whom is represented as emaciated and skinny and the other one as voluminous and fat. By using previous research on the subject of aberrant bodily representations as its main theoretical framework and with a methodological approach based on visual semiotics, this study has found that Jag tänker på mig själv is to be seen as a deviant representation of the female body in several ways. The way in which the female body is represented in Marianne Lindberg De Geer’s sculpture has shown to deviate not only from the traditional female nude but also from the visual norms that usually characterizes aberrant representations of the female-coded body.
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Rogge, Kathryn. "Ernst Ludwig Kirchner (1880-1938): Early Female Nudes in Landscapes." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/158.
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This thesis examines how Ernst Ludwig Kirchner reconceived the female nude within the two contexts of Expressionism and the German nudist movement. In particular, it looks to Kirchner’s early paintings, executed between 1909 and 1914, of female nudes in landscape settings to determine how Kirchner operated within and departed from the conventions of the female nude. This thesis challenges the feminist critique of Expressionist painting and Kirchner’s female nudes. It also examines how Kirchner’s female nudes in landscapes are complicated by the early twentieth-century development of German nudism. While these paintings are often categorized as bathers following nineteenth-century French precedent, they in fact are unique products of die Brücke philosophy.
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Seaman, Leah M. "The depiction of female emotion as seen through the work of Italian Renaissance artists Artemisia Gentileschi and Michelangelo Caravaggios Judith Beheading Holofernes and Artemisia Gentileschi and Cavaliere dArpinos Susanna and the Elders." Marietta College Honors Theses / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=marhonors161944857779248.
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Snyder, Tara. "NOT QUITE THE INGéNUE: THE DEVELOPMENT OF THE MIDDLE-AGED FEMALE CHARACTER IN MUSICAL THEATRE." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4085.
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Not Quite the Ingénue: The Development of the Middle-Aged Female Character in Musical Theatre is an exploration of the influences which have defined the function of middle-aged female characters within the musical theatre genre. This author was cast in the role of Arlene MacNalley, a forty-three year old woman, in the University of Central Florida's fall 2006 production of the musical Baby. Preparation for performance of this thesis role required identification of the traits and factors which would be vital for a realistic and relevant portrayal of Arlene. This document provides the reader with a working definition of middle age. It also furnishes a sampling of types, or stereotypes, of middle age female characters in musicals. The major thrust of the document emphasizes researching and understanding the importance of key socio-economic events' influence on the creation, direction, or depiction of middle-aged female characters. Three distinct characters are used to develop this theory, Aunt Eller in Oklahoma!, Dolly Levi in Hello, Dolly! and Arlene MacNalley in Baby. Further analysis within the thesis details essential differences between the original version of Arlene and the updated 2006 version of Arlene portrayed in the University of Central Florida's production of Baby. Conclusions drawn from the research, performance and writing processes indicate an increasing significance for the middle age female character as the genre of musical theatre continues to develop.<br>M.F.A.<br>Department of Theatre<br>Arts and Humanities<br>Theatre MFA
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Achard, Madeleine. "« Cette femme était très belle… ». La postérité de Bethsabée dans la littérature et les arts." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL094.
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Nous avons aspiré à mettre à lumière à travers ces travaux la façon dont la figure de Bethsabée fut appréhendée, interprétée et représentée dans la littérature et les arts, de la Bible à nos jours, à travers un choix d’œuvres varié. À la fois diachronique et comparatiste, la perspective que nous avons suivie repose sur la mise en regard du texte et de l’image ; elle est également fondée sur le rapprochement d’œuvres littéraires d’époques et de langues diverses, de façon à dévoiler les chaînes interprétatives qui se sont élaborées et répondues au fil des siècles autour de celle qui fut successivement la femme d’Urie, l’amante de David, la mère de Salomon et l’ancêtre du Messie<br>This thesis of French and comparative Literature aims at highlighting the way the biblical figure of Bathsheba was perceived, interpreted and depicted in Literature and Arts, from the biblical backgrounds to our days, throughout a selection of various works. Both diachronic and comparatist, our analysis is mainly based on the parallel view of texts and images. It also lies on the simultaneous analysis of literary works belonging to different times and languages, in order to enhance the traditions which progressively emerged and responded to one another throughout the centuries about a woman who, in a single lifetime, was the wife of Uriah, the lover and spouse of king David, the mother of his son Solomon and one of the most subversive ancestors of Jesus Christ
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Wen, Ku, and 古文. "Monologue of Oriental Female Nude: A Study of San Yu's Female Nude Painting." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/50993353894836339825.
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碩士<br>國立臺灣師範大學<br>藝術研究所<br>95<br>In Chinese art history, it is unorthodox yet innovative to develop the theme of the nude. San Yu, however, created numerous art works using various materials to express such subject matter. In San Yu’s oeuvres, he skillfully extracted unique elements from both oriental and occidental art such as Chinese ink painting and western mixed media. On the one hand, San Yu drew with calligraphic line and simple colors to create a “deep distance” perspective; on the other hand, he depicted surreal space with a kind of flat technique. Moreover, he even blurred figures’ contour lines and transformed the female nude into an abstract form when he attempted to represent new kinds of composition.
San Yu stayed far away from China his whole life and despite his own experimentation with oil painting and the influences of several art schools from 1930s on, he maintained a sense of Chinese aesthetics and nostalgia in his work. In paintings of the female nude, we can see how the artist interwove his oeuvres with Chinese craft art form, particularly the patterns on carpets, which represent blessings and good fortune. Because of his casual manner and self-amusing attitude, San Yu embodied the nude in a way of the “literati painting.”
When we examine San Yu’s art work in the context of twentieth century Chinese art history, he can be considered one of the earliest modern artists. He invented new forms and subjects on the basis of two cultures. As a result, his paintings have led Chinese art from traditional to modern. Consequently, San Yu’s work is of great significance and worthy of examination and study.
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Shuang-HuaLiu and 劉雙華. "A Study of Suzanne Valadon’s Female Nude Painting." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/42766310937303618801.
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碩士<br>國立成功大學<br>藝術研究所<br>104<br>Female nudity is a common subject in paintings. Suzanne Valadon (1865-1938), as a modern French painter, is known by her sculptural and creative female nudes. Before entering into art field, Valadon was an artist model, and her art career benefited from her job a lot, her living area- Montmartre also gives her much inspirations. However, public attention always focus on painter's love affair, rarely discuss the features of her distinctive female nudes. Therefore, through the collection of Chi Mei Museum in Taiwan: 〈Femme nue assise de trois quart arrière〉, which Valadon completed in 1916, the author took it as an opportunity, aiming to dissertate the background, personal experience and model career of the painter Valadon, and cataloging most of her female nude works, discuss its style and meanings.
The first part of paper is the description of Belle Époque and Valadon’s biography. The second part divides Valadon’s female nude works into three phrases and analyzing the styles and elements of paintings for giving each phrase distinct aesthetic features. The third part is the description of Valadon and a Chinese painter- Pan Yu-Lin’s (1895-1977) background and contains several topics in their artworks. Through the analysis, it concludes the possibility that the female nude paintings of Pan Yu-Lin in some extent refers to Valadon’s female nude paintings.
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Chen, Ko Yi, and 柯懿真. "A Study on Western Female Nude Painting - Ingres." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/25700028855093951592.
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Hwa, WU, and 吳華. "Gaze and Female Nude in Helmut Newton's Fashion Photography." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/32243500200390050666.
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碩士<br>國立臺灣師範大學<br>藝術研究所<br>95<br>Abstract
Since 1960s, styles of fashion photography have been greatly changed and verified, moreover, since 1970s, sex liberation enhances fashion, fashion media and even the social atmosphere. Eventually, fashion photography is not only focusing on clothes, but also generates its own types and styles. According to this background, how did Helmut Newton (1920-2004) foreground gaze and female nude in commercial and marketing based fashion photography? The purpose of this study is to investigate Helmut Newton’s two major works and series: Self-portrait with models and wife’and The Naked and the Dressed, and to explore the gazes network and female nudes he created. There are two major methodological components of methodology in this study, one is historical review based on the insight of Newton’s Autobiography, and culture studies, the other is focused on the photography by using psychoanalysis theory of Freud, Lacan, and Jean Laplanche.
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Chen, Meng-fan, and 陳夢帆. "From the Academy to Society：The Study of Female Nude Paintings during the Japanese Colonial Period." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/66rdr4.
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碩士<br>國立臺北藝術大學<br>美術學系碩士班美術史組<br>103<br>The thesis aims to study the development of the female nude paintings in the Academy and the controversy over these works during the Japanese colonial period. There are three steps of the research process. To begin with, I trace the historical contexts of these works. Then, I explain that how Taiwanese Student in Japan learned the female nude paintings. Finally, I discuss the social issues arising from female nude paintings in pubic.
In the latter half of the 19th centuries, Japanese painters Kuroda Seiki and others had learned the female nude paintings and the "composition" level of paintings from French painter Raphael Collin. Then, they came back to the Tokyo Art School and private studios in Japan and instructed students here in nude paintings and the "composition" level of paintings. Taiwanese Students here frequently practiced drawing human body, which is beneficial to create the female nude paintings, and lots of them created female nude paintings as their graduate works but not the "composition" level of paintings. Only Chen Cheng-po had accomplished the "composition" level of paintings. During the Japanese colonial period, female nude paintings in pubic resulted in the ruler’s ban and art critics’ debate, but these works were successfully displayed in the Taiwan Fine Arts Exhibition. However, one of Li Shih-chiao’s female nude painting had been banned in the 2th of Tai-yang Fine Arts Exhibition, which shows that the ruler considered female nude paintings in pubic with politics. Finally, female nude paintings in pubic were lessened its nudity to reduce the conflict with Taiwan’s traditional values.
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Kuo, Yin-Chun, and 郭盈君. "A Study of Fine Art Female Graduate Students’ Interpretations and Appreciation of Contemporary Visual Art by Using Female Nude Art Works." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/29230115286804817355.
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碩士<br>國立嘉義大學<br>視覺藝術研究所<br>99<br>In thousand years, one of the favorite subjects in western art history is “Female Nude”, especially in diversity of contemporary art. In “Female Nude” subject, male artists and feminist artists have different way of performance. The core of this research is to understand different point of view from cases, to recognize how individual differences and growth background have inference on different cases' view of points and values. These different interpretations revealed gender consciousness and values from interpretations.
Qualitative methods and depth interview case study were used in this study, and the participants of this study were five female postgraduate students of C University. Every interview time was about one hour, and every participant were asked to interpret and analyze five male and feminist artists’ works. Then, the researcher observed the values and gender consciousness from female postgraduate students through the interview.
The main purposes of this research study were:
1.To analyze each female participants of how they interpret and appreciate the “Female Nude” images from contemporary male and feminist artists through the analysis and interpretations.
2. To survey the values and gender consciousness from female cases by their interpretation of the male and feminist artists’ works.
The findings of this research study include:
1. In audience reception theory of “Female Nude”, it presented that the female participants of this research approach to different mode. Participants received these kind of image because of popular tastes, but not all of the audience receipted an internalized female image from patriarchy society. This shows that the audiences do not simply passively accept a text. While in interpretation feminist artists, the participants were divergently and brought up more discussion issue. This concluded the works from feminist artist were hardly arouse the sympathy and collective consciousness from female audiences because of their violent forms.
2. In the participants' values, they consider the main factor causing “visual un-pleasure” is violently forms, and the conclusion shows feminist artists’ more than male artists’ works.
3. The participants considered each work to be rich in social culture. Different sex and gender will cause diversity.
4. The participants have different gender consciousness, for example, the focus on female personal body experience; using flexible attitude toward sexual issue; to abate the sex and gender difference between male and female; because of the difference of physiology need and creative motive, male and feminist artists have different expression forms, and so on.
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McConnell, George D. Dahl Mary Karen. "Live! Nude! Girls! representations of female nudity in the Fluffgirls Burlesque, Girls Gone Wild, and Suicidegirls /." Diss., 2006. http://etd.lib.fsu.edu/theses/available/etd-04072006-141611.
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Thesis (M. A.)--Florida State University, 2006.<br>Advisor: Mary Karen Dahl, Florida State University, College of Visual Arts, Theatre and Dance, School of Theatre. Title and description from dissertation home page (viewed June 14, 2006). Document formatted into pages; contains iv, 93 pages. Includes bibliographical references.
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Hsuan, Chen I., and 陳怡萱. "The Boundary between Art and Eroticism: a Study on How Junior High School Students Appreciate Female Nude." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/86116507580358489528.
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碩士<br>國立屏東教育大學<br>視覺藝術學系<br>99<br>Abstract
The goal of this research is to understand how junior high school students appreciate female nude. My methods are action research and analysis research. I teach art appreciation in real classrooms based on the theory of Discipline-Based Art Education (DBAE). I follow the four steps of art criticism of DBAE: describing, analyzing, interpreting and judging. After facilitating the students to appreciate nude art, I also encourage them to create their own nude art on worksheets. My findings are as follows:
1. Female nude appreciation can be incorporated into the learning field of art and humanities of junior high school curriculum.
2. Junior high school students’ appreciation of female nude can be analyzed into three aspects:
i. Cognitive: after class sessions, students understand that there is no direct link between female nude and eroticism.
ii. Feeling and affective: junior high school students’ idea of standard female body is shaped by the representation of female body in today’s mass media.
iii. Behavioral: after learning the steps of art appreciation in class, students are able to identify the social background, medium, color of the work, and analyze the form and style of the work according to the principles of art.
3. When looking at female nude, male students tend to focus on certain parts of the body that evoke sexual connotations, while female students value the aesthetics of the painting.
4. Teaching junior high school student to appreciate female nude may dispel the misconception that “female nude is erotic.”
Finally, based on the findings of my research, I wish to give some concrete advice on how to teach art appreciation of female nude in junior high school.
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Bleeke, Marian. "Situating Sheela-na-gigs : the female body and social significance in Romanesque sculpture /." 2001. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3029476.
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Tillier, Rachel Joanne. "Naked truth: a glimpse into the lives and experiences of exotic dancers." Diss., 2008. http://hdl.handle.net/10500/1351.
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This research explores the lives and experiences of female exotic dancers with the aim of
gaining an empathic understanding of their involvement in the stripping industry. The
stereotypes and generalizations of exotic dancers and the stripping industry undermine
the exotic dancer's ability to be seen as an individual with her own story and her own
experiences. The participants of this research were selected through convenience
sampling and consist of three female exotic dancers. The researcher interviewed the
participants using a semi-structured interview format and focused on the dancer's
experience within the exotic dancing industry, her family history, her relationships, and
personal life. The data was analysed using thematic network analysis. The thematic
networks are often contradictory and inconsistent with the common stereotypes and ideas
held about exotic dancers. The results indicate that some exotic dancers experience
meaning, healing, gratification, and power within their work and live responsible,
productive lives.<br>Psychology<br>M.A. (Clinical Psychology)
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"Body, performance and labor of life models in Hong Kong." 2011. http://library.cuhk.edu.hk/record=b5894741.
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Chan, Hau Ying.<br>"December 2010."<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2011.<br>Includes bibliographical references (p. 182-186).<br>Abstracts in English and Chinese.<br>Abstract --- p.ii<br>摘要 --- p.iii<br>Acknowledgements --- p.iv<br>Content --- p.v<br>Chapter Chapter 1 - --- Introduction --- p.1-38<br>Chapter Chapter 2 - --- The body of female life models --- p.39-68<br>Chapter Chapter 3 - --- Managing sexuality and maintaining modesty --- p.69-96<br>Chapter Chapter 4 - --- Professionalism and passionate work --- p.97-129<br>Chapter Chapter 5 - --- The performance of female life models --- p.130-172<br>Conclusion --- p.174-181<br>Bibliography --- p.182-186<br>Chapter Appendix 1- --- A brief introduction of models interviewed --- p.187-189
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Marcoux, Gabrielle. "Regards croisés sur le corps féminin dans les dessins érotiques d’Egon Schiele (1910-1911)." Thèse, 2014. http://hdl.handle.net/1866/11125.
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Pour respecter les droits d’auteur, la version électronique de cette thèse a été dépouillée de certains documents visuels et audio-visuels. La version intégrale de la thèse a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.<br>Nous proposons dans ce travail que l’artiste Egon Schiele (1890-1918) a su exprimer l’ambivalence et l’angoisse entourant la question de la sexualité à Vienne au début du XXe siècle, plus spécifiquement à travers ses œuvres érotiques féminines sur papier réalisées en 1910-1911. À cette époque, des discours polarisés essentialisant la femme et sa sexualité se développent, notamment dans les sphères de la psychanalyse et de la philosophie continentale. La liberté sexuelle des jeunes femmes est réprimée et l’accès à l’information sur la sexualité leur est refusé. Pour les hommes, il s’avère ardu de concilier les propos puritains prônant l’abstention et leurs pulsions et curiosité libidinales, qui ne peuvent être assouvies que secrètement auprès de prostituées. Pour plusieurs, une vie sexuelle active devient synonyme de maladies vénériennes et de déchéance sociale.
C’est en favorisant une approche théorique psychanalytique et féministe, portant sur le regard confronté au corps sexué, que nous étudions les modes d’adresse s’établissant entre les modèles, le spectateur et l’artiste à travers ce corpus, afin de mieux comprendre les affects particuliers et les bouleversements des traditions phallocentriques mis de l’avant par Schiele. Ce mémoire considère qu'en optant pour une représentation plastique du corps féminin dérangeante et constamment variable, de même qu’en interpellant ses contemporains de façon ambiguë grâce à des dispositifs visuels hybrides, le jeune artiste a su ébranler l'autorité traditionnelle du spectateur/voyeur masculin face à l’objet de désir féminin. Il serait ainsi parvenu à critiquer l'hypocrisie et l'inconfort identitaire et sexuel dominants au tournant du siècle.<br>In the present work, we argue that the artist Egon Schiele (1890-1918) was able to express the ambivalence and anxiety surrounding the topic of sexuality around 1900 through his erotic drawings of female nudes, especially those produced in 1910-1911. In the early twentieth century, in Vienna, essentialist and polarized concepts about women and female sexuality are developed, especially in the fields of psychoanalysis and continental philosophy. Young women are denied access to any kind of sexual knowledge or experimentation. Meanwhile, men are torn between austere discourses preaching abstention and their sexual urges and curiosity; many must secretly resort to prostitutes in order to satisfy their impulses. For most, an active sex life implies venereal diseases and social decay.
While referring to psychoanalytical and feminist theories about the gaze and its encounter with the carnal body, we have studied the spectatorial relationships established between the models, the spectator and the artist across this corpus, in order to better understand the repudiation of the phallocentric traditions as proposed by Schiele. We believe that by representing the female body in disturbing and inconstant esthetic manners, as well as by reaching out to his contemporaries in ambiguous ways through hybrid visual devices, the young artist was able to undermine the traditional authority of the male viewer over the feminine object of desire. In so doing, Schiele managed to criticize the prevailing hypocrisy and discomfort regarding sexual identities and practices at the turn of the century.
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Tomlinson, D. C., F. R. Lamont, Steven D. Shnyder, and M. A. Knowles. "Fibroblast growth factor receptor 1 promotes proliferation and survival via activation of the mitogen-activated protein kinase pathway in bladder cancer." 2009. http://hdl.handle.net/10454/6216.
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Fibroblast growth factor receptors (FGFR) play key roles in proliferation, differentiation, and tumorigenesis. Many urothelial carcinomas contain activating point mutations or increased expression of FGFR3. However, little is known about the role of other FGFRs. We examined FGFR expression in telomerase-immortalized normal human urothelial cells, urothelial carcinoma cell lines, and tumor samples and showed that FGFR1 expression is increased in a high proportion of cell lines and tumors independent of stage and grade. To determine the role of FGFR1 in low-stage bladder cancer, we overexpressed FGFR1 in telomerase-immortalized normal human urothelial cells and examined changes in proliferation and cell survival in response to FGF2. FGFR1 stimulation increased proliferation and reduced apoptosis. To elucidate the mechanistic basis for these alterations, we examined the signaling cascades activated by FGFR1. FRS2alpha and PLCgamma were activated in response to FGF2, leading to activation of the mitogen-activated protein kinase pathway. The level of mitogen-activated protein kinase activation correlated with the level of cyclin D1, MCL1, and phospho-BAD, which also correlated with FGFR-induced proliferation and survival. Knockdown of FGFR1 in urothelial carcinoma cell lines revealed differential FGFR1 dependence. JMSU1 cells were dependent on FGFR1 expression for survival but three other cell lines were not. Two cell lines (JMSU1 and UMUC3) were dependent on FGFR1 for growth in soft agar. Only one of the cell lines tested (UMUC3) was frankly tumorigenic; here, FGFR1 knockdown inhibited tumor growth. Our results indicate that FGFR1 has significant effects on urothelial cell phenotype and may represent a useful therapeutic target in some cases of urothelial carcinoma.
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Williams, K. J., M. R. Albertella, B. Fitzpatrick, et al. "In vivo activation of the hypoxia-targeted cytotoxin AQ4N in human tumor xenografts." 2009. http://hdl.handle.net/10454/6236.
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AQ4N (banoxantrone) is a prodrug that, under hypoxic conditions, is enzymatically converted to a cytotoxic DNA-binding agent, AQ4. Incorporation of AQ4N into conventional chemoradiation protocols therefore targets both oxygenated and hypoxic regions of tumors, and potentially will increase the effectiveness of therapy. This current pharmacodynamic and efficacy study was designed to quantify tumor exposure to AQ4 following treatment with AQ4N, and to relate exposure to outcome of treatment. A single dose of 60 mg/kg AQ4N enhanced the response of RT112 (bladder) and Calu-6 (lung) xenografts to treatment with cisplatin and radiation therapy. AQ4N was also given to separate cohorts of tumor-bearing mice 24 hours before tumor excision for subsequent analysis of metabolite levels. AQ4 was detected by high performance liquid chromatography/mass spectrometry in all treated samples of RT112 and Calu-6 tumors at mean concentrations of 0.23 and 1.07 microg/g, respectively. These concentrations are comparable with those shown to be cytotoxic in vitro. AQ4-related nuclear fluorescence was observed in all treated tumors by confocal microscopy, which correlated with the high performance liquid chromatography/mass spectrometry data. The presence of the hypoxic marker Glut-1 was shown by immunohistochemistry in both Calu-6 tumors and RT112 tumors, and colocalization of AQ4 fluorescence and Glut-1 staining strongly suggested that AQ4N was activated in these putatively hypoxic areas. This is the first demonstration that AQ4N will increase the efficacy of chemoradiotherapy in preclinical models; the intratumoral levels of AQ4 found in this study are comparable with tumor AQ4 levels found in a recent phase I clinical study, which suggests that these levels could be potentially therapeutic.
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Moutien, Caitan Shirley. "Tradition et modernitė dans C'est le soleil qui m'a brûlee (1987), Assèze, l'Africaine (1994) et Femme nue, femme noire (2003) de Calixthe Beyala." Diss., 2016. http://hdl.handle.net/10500/22070.
Full textAbstract:
Text in French; abstract in French and English<br>Observatrice des réalités quotidiennes camerounaises, Calixthe Beyala a publié, en 1987, un roman intitulé C’est le soleil qui m’a brûlée. Dans ce roman, elle montre au lecteur comment la femme, victime de la tradition, utilise, avec l’apport de la modernité, son corps comme moyen pour reconquérir son moi profond, et retrouver sa liberté. En 1994, elle a écrit et publié Assѐze, l’Africaine. Et en 2003, elle a publié Femme nue, femme noire.
Après une lecture minutieuse de ces trois livres, le lecteur peut facilement découvrir que Calixthe Beyala place la femme au centre de sa préoccupation littéraire. Et elle examine, dans sa fiction, deux thѐmes: la tradition et la modernité. Qu’entend-elle par tradition et modernité? Comment examine-t-elle ces deux thѐmes dans les ouvrages de notre corpus? Quelles solutions propose-t-elle à la femme, d’une part, pour se libérer du joug de la tradition et de la domination masculine, et d’autre part, pour (re)conquérir son corps, son moi profond et pour son émancipation?<br>Observer of the daily Cameroonian realities, Calixthe Beyala published, in 1987, a novel entitled C’est le soleil qui m’a brûlée. In this novel, she shows the reader how a woman, victim of tradition, uses her body as means to reconquer herself and to find her freedom. In 1994, she wrote and published Assèze, l’Africane. And in 2003, she published Femme nue, femme noire.
After a careful reading of the three novels, the reader can easily discover that Calixthe Beyala places woman in the center of her literary preoccupation. And she examines, in her fiction, two themes, tradition and modernity. What does she mean by tradition and modernity? How does she examine these two themes in the novels of our study? What solutions does she propose to the woman, firstly, to liberate herself from the yoke of tradition and male’s domination, and secondly, to reconquer her body, herself and her emancipation?<br>Classics and World Languages<br>M.A. (French)
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Wessels, Jan Cornelis. "Moet vroue werklik stilbly in die kerk? : 'n Gereformeerde interpretasie van die 'Swygtekste' by Paulus in die lig van hulle sosiohistoriese, openbaringshistoriese en kerkhistoriese konteks / Jan Cornelis Wessels." Thesis, 2014. http://hdl.handle.net/10394/16692.
Full textAbstract:
In the history of exegesis 1 Corinthians 14:34-35 and 1 Timothy 2:11-15 have functioned as the heavy artillery against women in the ministries. From the 4th century BC, when the Church really started to develop from a dynamic underground movement of believers to a state Church organised in the image of the Roman Empire and so became the Catholic Church, women were more and more suppressed under the influence of deeply rooted Hellenistic anthropological ideas that were read into these passages. Only in the second half of the Twentieth Century, under the influence of changes in society after the sexual and feminist revolutions, changes set in that sparked the discussion about the role of women in the Church. This discussion is still continuing – in the Reformed tradition at least.
These two passages, however, seem to oppose an overwhelming number of biblical themes and data that at least bring a strong nuance to the picture the two passages seem to portray. The creation of man and woman in the image of God and the protection for women against the arbitrariness of men clearly picture an original and principal equality of men and women. In the circle of disciples around Jesus Christ this becomes even more manifest. This attitude is also visible in the earliest churches. Paul expresses this in Galatians 3:28: In Christ there is no … male nor female.
The passages that seem to limit the rights of women in the Church do not actually oppose this picture, but show that for the sake of the proclamation of the gospel not everything is (immediately) allowed. This dissertation attempted to interpret these two passages with the help of the grammatical-historic method.
In 1 Corinthians 14:34-35 Paul personally intervenes in the apparent chaotic meetings of the cosmopolitan and charismatic congregation. He requires from different categories of participants – among them the married women that have a Christian husband – to not burden the fellowship with – in the case of the aforementioned women – their (otherwise rightful) participation in the discussion of the prophetic message during the worship service.
In 1 Timothy 2:11-15 he gives his friend and student Timothy, the young pastor and teacher of the congregation in Ephesus, tools to call upon the members of the congregation not to start a revolution but to conquer the world for Christ by living an exemplary life. The context of this directive is a heresy that was particularly influencing some women that developed a prominent and domineering attitude in the Church.
None of these directives or instructions of Paul talk about special ministries in the Church. It is all about attitude. For the sake of the steady progress of the gospel this attitude is to be determined by discipline and humbleness. However, the form this discipline and humbleness have largely depends on the context of the believers.<br>MTh (New Testament), North-West University, Potchefstroom Campus, 2014
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Jirátová, Kristýna. "Samota uprostřed davu: Charles Baudelaire a umění 20. století a současnosti." Doctoral thesis, 2018. http://www.nusl.cz/ntk/nusl-386502.
Full textAbstract:
Alone in a Crowd: Charles Baudelaire and 20th-Century and Contemporary Art The dissertation called Alone in a Crowd explores the influence of the poet Charles Baudelaire's personality and work on 20th-century and contemporary art. Due to the field of study, the main focus is on the visual arts, but literature, music, philosophy, and film are also included to a large extent. This dissertation is divided into four substantive chapters. The first chapter, The Inner Message, introduces the poet's life, his family and acquaintances, as well as Baudelaire's poetry collection The Flowers of Evil. Themes of evil, ugliness, fear, death, and even a relationship to their mother, father and women are common for 20th-century and contemporary artists. This chapter presents Félicien Rops, James Ensor, Edvard Munch, Hans Bellmer, Francis Bacon, Joel-Peter Witkin, Kurt Cobain, members of the Young British Artists group, Lars von Trier, and others. The second chapter pursues the correspondence theory. The character of the Swedish philosopher Emanuel Swedenborg and his successor, William Blake, is followed by Baudelaire's understanding of sensual and spiritual correspondences, as his principles are adopted by modern artists in a distinct manner. The third chapter called "On the Edge of Society" covers the curse...