Academic literature on the topic 'Voyeurism in art'
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Journal articles on the topic "Voyeurism in art"
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Sheveleva, Svetlana, and I. Teneneva. "VOYEURISM: CRIMINAL AND CRIMINOLOGICAL ASPECTS." Scientific Notes of V. I. Vernadsky Crimean Federal University. Juridical science 7, no. 3 (December 12, 2022): 209–22. http://dx.doi.org/10.29039/2413-1733-2021-7-3(2)-209-222.
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One of the types of paraphilia is voyeurism, i.e., secretly spying on the intimate actions of other people. From the point of view of medicine, voyeurism is recognized as a disorder of sexual preference, in art it has found expression in the paintings of famous masters, but from the point of view of morality it remains in the plane of religiously conditioned prohibitions, and psychologists say that the considered form of sexual behavior is dangerous not only for the psyche of the actor, but also for the victim. Within the framework of the presented research, the authors offer an analysis of the legal reaction of foreign countries to this form of sexual deviation, consider the types of punishments, and also present a criminological portrait of voyeurism. In the legal systems of foreign countries (Great Britain, Belgium, Singapore), voyeurism is recognized as a sexual crime; in the United States, Germany, New Zealand, and some states of Australia, the act in question is recognized as a crime that violates the «right to privacy». Separate statistical data on the specified acts in separate countries (where such counting is conducted) are presented, the reasons of growth of such encroachments and ways of their implementation are defined. In Russia, such acts receive a criminal-legal assessment on the grounds of Article 137 of the Criminal Code of the Russian Federation, which should be considered as a «legislative compromise», since in the actions of a voyeur, the main motive is sexual, and violation of privacy is not the goal. Some statistical data indicate an increase in such attacks in the world, but in Russia, the paraphilia in question is mainly the subject of research by psychologists, sexologists, and journalists. No serious criminological or criminal law studies were conducted. The presented research is the first attempt to study this phenomenon in the legal aspect, suggesting the beginning of a scientific discussion. It is concluded that in the conditions of digitalization of society, voyeurism as a form of sexual deviation will continue to develop, so it is necessary to adopt a set of legal measures aimed at protecting the rights of victims.
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Lipszyc, Adam. "Affect Unchained: Violence, Voyeurism and Affection in the Art of Quentin Tarantino." Eidos. A Journal for Philosophy of Culture 4, no. 2 (August 12, 2020): 128–38. http://dx.doi.org/10.14394/eidos.jpc.2020.0021.
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Watson, Robert N. "Wherefore Art Thou Tereu? Juliet and the Legacy of Rape." Renaissance Quarterly 58, no. 01 (2005): 127–56. http://dx.doi.org/10.1353/ren.2008.0677.
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Abstract Commentators on Shakespeare’s Romeo and Juliet — perhaps mesmerized by the play’s reputation as an exemplar of pure love — have overlooked its references to the most notorious rapists of classical culture: Tereus, Hades, Tarquin, and Paris. Our point is not to accuse Romeo, but instead to demonstrate that Shakespeare characteristically hints at crimes that only flicker through the minds of potential perpetrators and victims, who must draw on a collective cultural legacy to judge, articulate, and control those possibilities. Reducing the play’s spectrum of sexual aggression (including voyeurism, insincere seduction, displaced phallic violence, angry possessiveness, and forced marriage) into a neat binary of rape and consent may be socially desirable, but it erases the ethical and psychological complexity of adolescent courtship. Ignoring the ancient specter of rape haunting this story also precludes recognizing what Juliet does heroically to exorcise it.
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Nurbaiti, Alya, and Irham Nur Anshari. "Privacy Management in Social Network Sites: A Case Study on the Use of Finstagram for Mediated Voyeurism." Jurnal Media dan Komunikasi Indonesia 1, no. 2 (September 24, 2020): 114. http://dx.doi.org/10.22146/jmki.55012.
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In 2015, Instagram users started to create secondary accounts dubbed finstagram (fake Instagram) to fulfill the unmet needs of using the main account. Among the needs is to do mediated voyeurism or stalking — the act of watching other’s lives through the means of the media — safely. Prior Instagram studies have been more focused on the self-disclosure discourse while analysis on the voyeurs as consumers of disclosure is lacking. Using the case study method, this paper records the exercise of mediated voyeurism through finstagram and the privacy management that occurs within. The result shows that the use of finstagram for mediated voyeurism is driven by the perceived privacy risk (perceived risk of possible privacy violations). The perceived privacy risk encourages voyeur to navigate privacy management by adopting protecting behavior, or various forms of action taken to protect the exercise of stalking.
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Heitmann, Annegret. "Nordic Modernists in the Circus. On the Aesthetic Reflection of a Transcultural Institution." Humanities 7, no. 4 (November 6, 2018): 111. http://dx.doi.org/10.3390/h7040111.
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Around 1900 the circus was not only an important and highly popular cultural phenomenon all over Europe, but also an inspiration to writers and artists at the onset of Modernism. As an intrinsically intermedial form with international performers, it can be seen as an expression of certain important characteristics of modern life like innovation, mobility, dynamics, speed and vigor. Its displays of color and excitement, of bodies in motion and often provocative gender relations were experienced by authors as a challenge to create new aesthetic forms. However, the circus does not only figure prominently in well-known works by Kafka and Thomas Mann and paintings by Degas, Macke or Leger, it is also thematized in texts by Scandinavian authors. When writers like Henrik Ibsen, Herman Bang, Ola Hansson and Johannes V. Jensen referred to the circus in their works, they represented it as an experience of modernity and addressed themes like alterity, mobility, voyeurism, new gender relations and ambivalent emotions. As a self-reflexive sign, the circus even served to represent the fragile status of art in modernity and thus made an important contribution to the development of Modernism.
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Van Niekerk, Retha. "Music videos as cultural artefacts of the eighties." Communicare: Journal for Communication Studies in Africa 11, no. 1 (November 7, 2022): 44–56. http://dx.doi.org/10.36615/jcsa.v11i1.1986.
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A overview of the development of movements in art and music during the twentieth century is given to place music videos in perspective as cutural phenomena reflecting certain artistic, philosophical and social tendencies of the present. Music videos, are seen against the back ground of the semiological view that a cultural artefact does not simply reflect society, it also acts as a "signifying practice with its own determinate product: meaning" (Hall 1980:30). A semiological approach Incorporating concepts from structuralism, psychoanalysis, feminism and post-structuralism is used to construct a theoretical model for the analysis of meanings in the visual images of music videos. In the theoretical model three levels of meaning, namely denotative, connotative and mythical, are distinguished with certain qualititative elements defined on each level The denotative level or the level of reality contains iconic signs, indexical signs and symbolical signs. Other qualitative elements include characters, setting, and descriptions of primary movements. The connotative level or the level of representation includes television codes (non-filmic and filmic), narrative codes and intertextual codes The level of myth or the level of ideology includes stylistic or textual devices such as metaphors, allegories, fetishism, voyeurism and parody. This article is that music videos function as mod- ern artefacts which have the potential to express complex cultural meanings to signal a new Weltanschauung (Lorch 1988:143)
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Karpinski, Eva C. "Hélène Cixous’s „The Exile of James Joyce”: A Biographical Limit Case." Anglica Wratislaviensia 55 (October 18, 2017): 35–45. http://dx.doi.org/10.19195/0301-7966.55.3.
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This article examines Hélène Cixous’s biographical monograph The Exile of James Joyce as a limit case of biographical praxis. Joyce’s biography is read in the context of Cixous’s own evolving personal motif of exile, revealing her autobiographical investment in becoming a writer through reading Joyce. She pushes the boundaries of the biographical genre at the intersections of autobiography, literary criticism, and biography, defying simple generic classifications and exposing the limits of conventional demarcations between the artist, the work, the biographer, and the critic. As a result, the text becomes a creative-interpretive hybrid project, where the biographical code has been displaced by focus on epistemological, psychological, and textual problems implicit in the relationship between the biographer and the biographical subject. Her approach invites us to consider the following questions: How does she rewrite Joyce through her own multiple experiences of exile that she also shares with Jacques Derrida? What difference does gender make in the construction of the biographical subject as the great modernist “genius”? How does gender marginalization impact her authority as a biographer? The discussion is also framed through some larger questions concerning the aesthetic, epistemological, ethical, and political role of biography in approaching modernist literature and culture: Is biography an art or a craft? What kind of knowledge does biography generate? How far is biography a form of discursive violence and voyeurism? How can attention to affect and intimacy offer new insights into the aesthetics of the biographical genre?
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LAVRENOVA, OLGA A. "“THE SEAMY SIDE OF THE CITY”: MARGINAL LANDSCAPES AND CONTEMPORARY VISUAL CULTURE." ART AND SCIENCE OF TELEVISION 17, no. 2 (2021): 61–87. http://dx.doi.org/10.30628/1994-9529-2021-17.2-61-87.
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The topic of people thrown to the sidelines of life is considered in a double frame—in the context of the way the urban space is arranged and in the context of modern visual culture (feature films, video and photo blogs, videos on popular YouTube channels). The most hyped-up type of marginal landscape in modern media is slums. The otherness of such spaces has always been a subject of interest and curiosity, for “gazing”—interpretation, perception and entertainment. In modern mass culture, the “location” of the global south slums is especially trendy. In such exterior, hyper-popular feature films such as Slumdog Millionaire have been shot, causing a new cultural phenomenon—mass slum tourism. This phenomenon seems to be ambiguous from an ethical point of view; but from the point of view of visual culture, it is voyeurism brought to the level of an art and everyday life practice. The second type of marginal urban landscapes is local “invasion” into the decent and institutionalized city space. This art form serves as a “location” for a psychological drama of superfluous people. Features of national identity are most clearly manifested on its seamy side rather than anywhere else. Japanese townships of the homeless, incorporated into central and well-to-do areas, are no strangers to order and aesthetics; while Russian realities—chaos, departure from norms and underground—are completely opposite. Classic films devoted to this issue—Dodes’ka-den by Akira Kurasawa, Promised Heaven by Eldar Ryazanov, The Lady in the Van by Nicholas Hytner—model these seamy spaces and their peculiarities inherent in national culture. Very popular now are YouTube channels about the life of homeless people, which show real characters in their real habitats, introducing marginal spaces into the rank of a hot-topic visual culture. This type of visualization provokes another cultural phenomenon— the perception of marginal loci and their inhabitants as an interactive performance. Interactivity can vary from attacking to fraternization, from preaching to charity. Odd as it may seem, hyper-visualization and aestheticization of social ulcers contributes to their social invisibility. It is a problem, which no one is going to solve anymore; it has become a part of modern culture with its own philosophical and aesthetic arguments—and in a certain sense they act as its justification.
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LAVRENOVA, OLGA A. "“THE SEAMY SIDE OF THE CITY”: MARGINAL LANDSCAPES AND CONTEMPORARY VISUAL CULTURE." ART AND SCIENCE OF TELEVISION 17, no. 2 (2021): 61–117. http://dx.doi.org/10.30628/1994-9529-2021-17.2-61-117.
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The topic of people thrown to the sidelines of life is considered in a double frame—in the context of the way the urban space is arranged and in the context of modern visual culture (feature films, video and photo blogs, videos on popular YouTube channels). The most hyped-up type of marginal landscape in modern media is slums. The otherness of such spaces has always been a subject of interest and curiosity, for “gazing”—interpretation, perception and entertainment. In modern mass culture, the “location” of the global south slums is especially trendy. In such exterior, hyper-popular feature films such as Slumdog Millionaire have been shot, causing a new cultural phenomenon—mass slum tourism. This phenomenon seems to be ambiguous from an ethical point of view; but from the point of view of visual culture, it is voyeurism brought to the level of an art and everyday life practice. The second type of marginal urban landscapes is local “invasion” into the decent and institutionalized city space. This art form serves as a “location” for a psychological drama of superfluous people. Features of national identity are most clearly manifested on its seamy side rather than anywhere else. Japanese townships of the homeless, incorporated into central and well-to-do areas, are no strangers to order and aesthetics; while Russian realities—chaos, departure from norms and underground—are completely opposite. Classic films devoted to this issue—Dodes’ka-den by Akira Kurasawa, Promised Heaven by Eldar Ryazanov, The Lady in the Van by Nicholas Hytner—model these seamy spaces and their peculiarities inherent in national culture. Very popular now are YouTube channels about the life of homeless people, which show real characters in their real habitats, introducing marginal spaces into the rank of a hot-topic visual culture. This type of visualization provokes another cultural phenomenon— the perception of marginal loci and their inhabitants as an interactive performance. Interactivity can vary from attacking to fraternization, from preaching to charity. Odd as it may seem, hyper-visualization and aestheticization of social ulcers contributes to their social invisibility. It is a problem, which no one is going to solve anymore; it has become a part of modern culture with its own philosophical and aesthetic arguments—and in a certain sense they act as its justification.
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Tian, Zhang. "Urban Gothic and the Sphinx Factor: Saul Bellow’s Mr. Sammler’s Planet." Interlitteraria 23, no. 1 (August 5, 2018): 124–35. http://dx.doi.org/10.12697/il.2018.23.1.13.
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Saul Bellow, as a cerebral, analytical, and philosophical writer, unflinchingly describes the world and gives the readers tremendous thoughts about life and society. He was awarded the Nobel Prize in Literature in 1976 for his human understanding and subtle analysis of contemporary culture. In Mr. Sammler’s Planet, Bellow shows the readers a death-burdened, rotting, spoiled, sullied, exasperating, sinful earth. This insane world is full of droll mortality and morbid entertainments. The coexistence of rationality and bestiality in man is vividly displayed in this novel. In his Introduction to Ethical Literary Criticism, Professor Nie Zhenzhao formulated the theory of the Sphinx factor as composed of the human factor and the animal factor, and the combination of the two makes an integrated man. The animal factor in the novel is fully demonstrated in the black pickpocket’s bestiality, Mr. Sammler’s voyeurism, the Holocaust, killings and thefts. However, the human factor is not so salient as the animal factor in this novel. I argue that the tension between the two factors not only intensifies the conflicts but shows how the author perceives the world. Bellow shows a strong contempt for the world. A pessimistic and critical outlook is conveyed in Bellow’s understanding of cities, represented by Chicago and New York. Robbery, cheating, speculation, beauty, money and lust construct a corrupted panorama of industrial cities. This is one of the reasons why Bellow highlights the animal factor more than the human factor. He seeks to criticize the American city from different perspectives of city culture, including the corruption of the bureaucracy, vices in public transport, changes in the urban landscape, competition between the pursuit of art and the pursuit of money.
Dissertations / Theses on the topic "Voyeurism in art"
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Ross, Alicia. "in_tension /." Online version of thesis, 2006. http://hdl.handle.net/1850/5039.
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Prisco, Lauren. "Immersive Theater & The Physical Narrative." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4896.
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Immersive Theater is a form of experimental theater that places spectators at the heart of the created work, by removing them from the constraint of static seats and instead encouraging them to explore an installed environment as a way of understanding the narrative. This thesis explores how Interior Design directly enhances a performance by creating spaces that challenge a spectator’s physical understanding of a narrative.
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Arlauskaitė, Dainora. "Vojerizmas fotografijoje." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2011~D_20110802_143304-44757.
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Kūnas įvairių mokslo šakų tyrinėjimo objektas, sunku apsiriboti ties viena sritimi ar pripaţinti tik vieną sritį kaip teisingiausią kūno suvokimui. Bet kokiu atveju ţmogus savo kūną paţysta bei formuoja per aplinka. Fotografiją taip pat yra įvaizdţio formavimo priemonė. Pati fotografija ne tik formuoja įvaizdį, bet ir formuoją patį ţmogaus poreikį vaizdiniui ir kitokį ţvilgsnį į aplinką. Diplominiame darbe nagrinėju vojerizmą, jo ryšį su fotografija. Stengiuosi surasti momentą kada paprastas ţvilgsnis tampa vojeristiniu ţiūrėjimu, ar tiesiog vojerizmas yra netskiriamas dalykas nuo fotografijos. Analizuoju vojerizmo teoriją, kaip vojerizmas atsiskleidţia fotografijoje. Nagrinėju kūno samprata, nuogą kūną fotografijoje, erotinę fotografiją, akto fotografiją Lietuvoje. Atlikdama savo uţdavinius, analizuodama literatūrą ir prototipus, siekiu uţsibrėţto tikslo, sukurti stereografijų ciklą, kuriame atsispindėtų diplominiame darbe nagrinėjami aspektai. Diplominiame darbe taip nagrinėju stereografijos sąvoka, kuri siejasi su vojerizmo ištakomis fotografijoje ir mano stereografijų ciklu. Stereografija- diplominio darbo, praktinės dalies pateikimo forma.The body is exploration object in the vorius science discipline, it would be difficult to confine by one discipline or recognize only one discipline as the farest for body knowing. In any case human knows his body and formed whitin the enviroment. The photography as a discipline is also body formating tool. Photography itself is not only shaped the image, but also formating a requirement for the image and different gaze to enviroment. I‘m analyzed voyeur in photography, it‘s connection whit photography. Trying to find a moment when a simple looking bicome voyeuristic gaze or maby voyeurism is the main part in photography. I analyzed voyeur theory, how voyeurism reveals in photography. Describing body as a concept, naked body in photography, erotic photography, nude photography in Lithuania. Doing my tasks, analyzing literature and prototipes, try to achiev the main target, to create a stereography cycle in which reflected dealing aspects. I‘m Analyzed steregraphy concept, which pertain whit voyeurism orgins in photography and my stereography cycle. Stereography is submission form of the practical part.
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Crum, Susanna Garts. "The heart of the park." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/2847.
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The Heart of the Park works to expose, preserve, and interpret the many layers of social history, fact, and fiction within Iowa City's City Park. This exhibition is a result of archival research, interviews, and on-site investigation. As a guide, I followed the path of Enoch Emery, a park-haunting voyeur featured in Flannery O'Connor's first novel, Wise Blood, which she wrote after graduating from the Iowa Writers' Workshop. Details of O'Connor's fictional version of City Park, in Chapter 5 of Wise Blood, as well as Enoch's relationship with the park, led to further discoveries regarding the park's history, and ultimately, a reinterpretation of these seemingly disparate layers of fact and fiction. While the contemporary archive claims depoliticized and anonymous reasons and methods for preservation, my hybrid practice creates a role for the subjective, idiosyncratic archivist, who suffuses factual research with myth-making. The Heart of the Park is one glimpse into an ongoing collection of interpreted sites, in which I attempt to prevent the loss of local histories, and enact the inevitable chain of reinterpretations of site.
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Brooks, Erin. "Co-creation: A study of intimacy and control." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3486.
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Drawing from ongoing revitalization initiatives in Richmond, Virginia, this adaptive reuse project creates a structured dialogue between public and private expression to create a more immersive gallery experience for viewer and practitioner. The gallery experience is twofold; traditional object-based display and nontraditional process-based display. Preservation of the historic fabric of the existing Handcraft building at 1501 Roseneath is integrated with the transformative potential of introducing voyeuristic opportunities in creating a community arts center. Notions of voyeurism will center around ideas of visual connection and physical separation. This project questions if tactics of voyeurism, which inherently create physical barriers, can facilitate interaction and encourage co-creation in a creative setting. Structured moments of intimacy and control are accomplished through presented and found views of movement, object, and process. These moments of intimacy and control create a conceptual reciprocity which guides the design of this project. Ultimately, the redesign creates a dialogue between the process of making and the final product/object by facilitating interaction between the viewer and practitioner through different points of the creative process. The project moves away from exploiting the site’s formal, historical, and contextual components and encourages the audience member to engage with the maker through a corporeal, experiential encounter. The environment becomes a catalyst for cross-disciplinary creativity on an individual, group, and community level. The development of spaces that engage the creative mind and foster collaborative growth will serve the Richmond arts community and can act as an icon for successful urban transformation.
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King, Taryn. "Through the Camera Obscura : exploring the voyeuristic gaze through Grahamstown's architecture." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1018937.
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My study explores the politics of viewing and the gaze. I argue that the gaze both arrests and objectifies the body, which in turn transforms subjects into objects therefore regulating social behaviour. The basic notion of the gaze will be explored throughout this thesis and thereby contextualizes my sculptures, which are casts of my naked body. My particular concern lies in how the ideas of surveillance have had an influence on architecture and buildings in Grahamstown. Throughout this mini thesis, I will explore a number of architectural spaces of Grahamstown such as the Provost prison, Fort Selwyn and the Camera Obscura which I argue were all designed based on the ideas of surveillance. The entanglement of Grahamstown architecture and the female form as a subject of voyeurism forms an important part of this thesis, as the context of Grahamstown architecture is centered on visibility, which in turn subjects people to a form of discipline. The Provost Prison, the Camera Obscura and the forts of Grahamstown are all good examples of this. Outside of this, the female body is also subjected to the gaze, which in turn suggests that the female body is also under surveillance and as a result also becomes disciplined. My installation is a response to Antony Gormley’s Event Horizon, in which he placed 33 steel and fibreglass casts of his own naked body at an elevated level on buildings around Manhattan and Brazil. In this discussion I have contextualized my work with reference to the ideas of different theorists. The three main theorists I have cited are Michel Foucault, Jonathan Crary and Laura Mulvey. Foucault is specifically cited due to his discussion on Panoptic power, surveillance and docile bodies. Crary makes a number of important points with regards to the ideological operations of the Camera Obscura as well as its history while Laura Mulvey’s writings form the basis of the voyeuristic gaze from the perspective of a feminist.
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Shinko, Kathryn A. "Vignettes." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1429884060.
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Wagner, Giselheid. "Harmoniezwang und Verstörung : Voyeurismus, Weiblichkeit und Stadt bei Ferdinand von Saar /." Tübingen : M. Niemeyer, 2005. http://catalogue.bnf.fr/ark:/12148/cb40021874w.
Full textBooks on the topic "Voyeurism in art"
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Art et voyeurisme: Des pompiers aux postmodernes : essai. Campagnan: EC éditions, 2009.
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Derivery, François. Art et voyeurisme: Des pompiers aux postmodernes : essai. Campagnan: EC éditions, 2009.
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Theatre as voyeurism: The pleasures of watching. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2015.
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Muzzarelli, Federica. Gossip: Moda e modi del voyeurismo contemporaneo. Bologna: Bononia University Press, 2010.
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Judiciary, United States Congress House Committee on the. Video Voyeurism Prevention Act of 2003: Report (to accompany S. 1301) (including cost estimate of the Congressional Budget Office). [Washington, D.C: U.S. G.P.O., 2004.
Find full textBook chapters on the topic "Voyeurism in art"
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Gallo, Rubén. "Voyeurism." In New Tendencies in Mexican Art, 47–69. New York: Palgrave Macmillan US, 2004. http://dx.doi.org/10.1057/9781403982650_3.
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Cairns, George, and Tamar Jeffers. "Looking into/out of Organizations through the Rear Window: Voyeurism and Exhibitionism in Organization Studies (delete as appropriate)." In Art and Aesthetics at Work, 38–50. London: Palgrave Macmillan UK, 2003. http://dx.doi.org/10.1057/9780230554641_3.
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Prejmerean, Vasile-Ovidiu. "Femininity and Self-Referentiality in Painting and Psychoanalysis: Degas’ Art between the Mirror’s Glimpse and the Spectator’s Voyeurism." In Proceedings from the VIth International Congress of Art History Students: Interdisciplinarity in Art History, 47–61. Filozofski fakultet Sveučilišta u Zagrebu - FF Press, 2022. http://dx.doi.org/10.17234/9789531759113.6.
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O'Malley, Seamus. "“Everyone Looks through Peepholes”." In The Comics of Julie Doucet and Gabrielle Bell, 164–88. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496820570.003.0008.
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Gabrielle Bell's The Voyeurs stages voyeurism in multiple ways. Bell's avatar of ten acts as a voyeur, peering at neighbors or passers by. Some times she is the object, not subject, of a gaze: both other characters, as well as the reader, often observe her as she goes about her daily routines. But sometimes readers are presented with a third aspect of voyeurism, which is what she sees. Instead of just watching her watch, sometimes the reader sees what she sees. Thus Bell presents us with her vision, as well as offering herself to our gaze. While we generally associate voyeurism with radical subjectivity, loneliness, and alienation, Bell offers her vision as an invitation to join in a community of watchers, as we become more a ware of what and how we see.
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Cole, Emma. "Jan Fabre’s Mount Olympus: To Glorify the Cult of Tragedy (A 24-Hour Performance)." In Postdramatic Tragedies, 245–74. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198817680.003.0008.
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Jan Fabre’s 24-hour response to the œuvre of extant tragedy, Mount Olympus, is in many ways an archetype postdramatic tragic reception. Chapter 7 explores the production’s radical take upon both the form and content of ancient tragedy, and how its phenomenological impact encouraged the audience to interrogate the practice of receiving antiquity. It focuses upon how the production combined postdramatic techniques with tragic source texts to interrogated ideas of voyeurism, the institution of the City Dionysia, and the notion of catharsis. It utilizes Jacques Rancière’s work on politics and art, and his notion of the emancipated spectator, as a theoretical framework to consider how the production raised questions surrounding cognitive versus embodied agency and the limits of emancipation. It argues that Rancière’s emancipated spectator is best employed as a hermeneutic tool to unpack the politics of spectatorship rather than to create a totalizing thesis about the ideal conditions for a politically efficacious performance.
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Polverini, Léa. "Fiction and Voyeurisms: For a Fantasmatic History." In ReFocus: The Films of Jocelyne Saab, 247–61. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474480413.003.0017.
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Nasri, who seeks to capture the image of his lover by taking her picture at the opening of What's Going On (2009), is driven by the same desire as Jocelyne Saab when she films Beirut’s ruins or a lost Alexandria: both are voyeurs, attempting to recompose a world through fiction. Not that it is a perverse voyeurism, but rather a storyteller’s voyeurism, of which the poet in What's Going On, perched on his building-observatory, could be an avatar, spying, and revealing an alternative reality. Saab’s documentaries about war represent what might be called the "weak times" of the conflict: Saab aims to remember a certain image left by the city, just as The Ghosts of Alexandria (1986) tries to reconstitute the cosmopolitanism so praised and worn out. Whether those documentaries are contemporary to the conflict or created afterwards, they are phantasmatic reconstructions, fed by literary representations. The poetic speech emancipates itself from historical contingencies and builds an intertextual web. The waste lands lead, as if language was contaminated by the surrounding decaying spaces, to an aesthetic of fragment, in the rhapsodic editing, but also and especially in the images commentary made by the voice-over or the characters.
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Green, Stuart P. "Indecent Exposure." In Criminalizing Sex, 225–48. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197507483.003.0014.
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This chapter considers the flip side of voyeurism—namely, indecent exposure, or exhibitionism. Whereas in voyeurism, the offender views his victim’s private activities without her consent, in indecent exposure, he subjects her to his own intimate activities. The interests and rights at stake in the two offenses are thus complementary. This chapter argues that criminal sanctions for indecent exposure are ultimately justified not on the basis of its harms, which are relatively minor, but rather on the basis of its tendency to cause offense. Unlike incest and sadomasochistic assault, which are usually performed in private, indecent exposure is normally committed in public and specifically intended to cause shock, distress, or disgust. On the other hand, some exhibitionists will have legitimate reasons for exposing themselves. They may be engaging in political protest, participating in an artistic endeavor, communing with nature, or exploring sensual pleasure. The chapter suggests that under liberal principles, the law of indecent exposure should be applied only to the most egregious and offensive sorts of exposure for which there is no legitimate justification.
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Russell, Luke. "The banality of evil." In Evil: A Very Short Introduction, 53–69. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/actrade/9780198819271.003.0004.
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Abstract Some philosophers have claimed that there is no distinctive psychological feature that lies behind evil actions. Instead, they claim that evil actions can come from all kinds of motives. This fits with Hannah Arendt’s analysis of the trial of Adolf Eichmann and her claims about the banality of evil. If evil is not distinguished from ordinary wrongdoing via the distinctive psychology of the evildoer, we might suggest that evil actions are simply extremely harmful wrong actions. Yet what if some evil actions are failed attempts to inflict extreme harm? Could harmless acts of sadistic voyeurism also count as evil?
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Moss, Sonita R., and Dorothy E. Roberts. "“It Is Likely a White Gene”." In Racialized Media, 227–44. NYU Press, 2020. http://dx.doi.org/10.18574/nyu/9781479811076.003.0013.
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Focusing on media reports of Black women who give birth to “white” children, this study asks, What can we learn about popular understandings of race from the fascination with “white” babies born to Black mothers? What racial discourses guide how such stories are produced and consumed online? The authors conducted a critical discourse analysis of media coverage and online comments about two contemporary cases, finding that three race-based assumptions underlie and are reinforced by these narratives. The authors argue that these births generate racial voyeurism because they violate deeply held beliefs about racial identity and the reproduction of race.
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Cachel, Andrea, and Lunielle Bueno. "Fantasia e voyeurismo narrativo em Vertigo: os laços entre cinema e ceticismo em Stanley Cavell." In Cinesofia: a sétima arte em devaneio, 73–100. Faculdade de Filosofia e Ciências, 2022. http://dx.doi.org/10.36311/2022.978-65-5954-222-2.p73-100.
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