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Saraiva, Érica Cristiane. « Visualidades de Luiza Prado : poética da ex-centricidade ». Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7529.
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This research proposes to analyze cuts of the work of the multidisciplinary artist Luiza Prado (1988 - ). From the analysis of the various visuals used by the artist, which include photoperformance, videoperformance and body art, we seek to understand its creative process and the construction of her poetics. Such poetics emerges from her confrontation with rape, with indigenous heritage, with profanation and with the sacred, so we take into account her construction as an ex-centric subject, the use of the body in her work and the strategies mobilized by the artist in the appropriation of representations, besides the relation with the psychodrama. The first chapter discusses her constitution as an ex-centric subject, the influence of psychodrama, and forms of appropriation as strategy. Secondly, we discuss the use of video as language and political strategy, a media that allows the problematization of the relation between performer and spectator in her works. Finally, we approach Prado's body art and photoperformance as postcolonial and anti-capitalist critique. We take as theoretical references the Critique of Art and Image, Philosophy and Feminist Theory, in dialogue with authors who treat the body as a support of art.
Essa investigação se propõe a analisar recortes da obra da artista multidisciplinar Luiza Prado (1988 -). A partir da análise das diversas visualidades utilizadas pela artista, que incluem a fotoperformance, a videoperformance e a body art, procura-se compreender seu processo criativo e a construção de sua poética. Tal poética emerge a partir de sua confrontação com a violação sexual, com a herança indígena, com a profanação e com a dominação, assim levamos em conta sua construção enquanto sujeito ex-cêntrico, a utilização do corpo em sua obra e das estratégias mobilizadas pela artista na apropriação de representações, além da relação com o psicodrama. No primeiro capítulo discute-se sua constituição como sujeito ex-cêntrico, a influência do teatro terapêutico, e formas de apropriação como estratégia. Em um segundo momento, discutimos o uso do vídeo como linguagem e estratégia política, uma mídia que permite a problematização da relação entre performer e espectador nas obras da artista. Por último, a body art e a fotoperformance de Prado são abordadas enquanto críticas de caráter pós-colonial e anticapitalista. Tomamos como referências teóricas da Crítica de Arte e Imagem, Filosofia e da Teoria Feminista, em diálogo com autores (as) que tratam do corpo como suporte da arte.
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Kidder, Alana D. « Women Artists in Pop : Connections to Feminism in Non-Feminist Art ». Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1388760449.
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Battista, Katherine. « Women's work : feminist artists in 1970s London ». Thesis, Birkbeck (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.498626.
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Tvardovskas, Luana Saturnino 1983. « Dramatização dos corpos : arte contemporânea de mulheres no Brasil e na Argentina ». [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280015.
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Orientador: Luzia Margareth RagoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: Esta tese aborda a poética visual de artistas brasileiras e argentinas, cujas obras de arte empreendem um discurso critico a violência material e simbólica de gênero, por meio de imagens do corpo. São focalizadas, a partir de uma perspectiva feminista, as artistas contemporâneas brasileiras Ana Miguel, Rosana Paulino e Cristina Salgado, e também as argentinas Silvia Gai, Claudia Contreras e Nicola Costantino que se utiliza de transfigurações, dramatizações e manipulações sobre imagens corporais como manobras transgressivas e de resistência. O trabalho será norteado teórica e metodologicamente pelos estudos feministas e pelo "pensamento da diferença", sobretudo por Michel Foucault e Gilles Deleuze
Abstract: This research approaches the visual poetics of Brazilian and Argentinian artists whose artworks undertake a critical discourse of violence of gender (material and symbolic) through images of the body. From a feminist perspective, we focus on the Brazilian contemporary artists Ana Miguel, Rosana Paulino and Cristina Salgado and also the Argentinian Silvia Gai, Claudia Contreras and Nicola Costantino. Their work deals with transfigurations, dramatizations and manipulations on body's images as transgressive maneuvers of resistance. The methodology of this work will be guided by the Feminist studies and by the Difference theory, especially by Michel Foucault and Gilles Deleuze
Doutorado
Historia Cultural
Doutora em História
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Walker, Wendy. « Three Feminist Artists Respond to The Last Supper ». Honors in the Major Thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/732.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucfBachelors
Arts and Sciences
Humanities
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Almeida, Isadora Maríllia de Moreira. « Mulheres artistas : apontamentos sobre perspectivas e experimentações possíveis ». Universidade Federal de Juiz de Fora (UFJF), 2018. https://repositorio.ufjf.br/jspui/handle/ufjf/8086.
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A presente dissertação realiza uma trajetória, que discute tanto a dificuldade ainda existente em vermos obras de arte feita por mulheres, como também o entendimento de que o olhar feminino possibilita outra forma de enxergar o mundo. As mulheres artistas buscaram alternativas para exibir suas obras, sejam elas fotografias, colagens, pinturas, ilustrações e vídeos. Abordando justamente meios alternativos, tais como, a cultura da mail art, dos zines e atualmente as redes sociais, estes nos mostram uma circulação paralela de arte fora dos museus, em que artistas cada vez mais jovens propõem dividir seus olhares com o público. As tecnologias disponibilizadas pela internet, hoje, são em grande parte utilizadas por artistas para conquistarem visibilidade, e podemos entendê-las como ferramentas que contribuem com essa nova forma de exibição e experimentação dos espaços. Reunimos momentos particulares, sem preocupação historiográfica, que compuseram uma narrativa feminista cujas abordagens inspiraram novas artistas a partir dos anos de 2010, e culminaram em uma tentativa de curadoria com temáticas que versam sobre experiências, intimidades e outramentos.
The present dissertation follows a trajectory which discusses both the difficulty in seeing works of art made by women, as well understanding that female gaze allows another way of seeing the world. Women artists looked for alternatives to display their works, being these, photos, collages, paintings, illustrations and videos. Approaching the alternative media such as the culture of mail art, the zines and nowadays social networks, this study show us a parallel circulation of art outside the museums, in which increasingly younger artists propose to share their gaze with the public. The technologies available over the internet today are largely used by artists to gain visibility, and we can understand them as tools that contribute to this new way of exhibiting and experimenting of spaces. We put particular moments together, without historiographical concern, that composed a feminist narrative whose approaches inspired new artists from the years of 2010, and culminated in an attempt of curation with themes that deal with experiences, intimacies and othering ourselves.
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Senna, Nádia da Cruz. « Donas da beleza : a imagem feminina na cultura ocidental pelas artistas plásticas do século XX ». Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27134/tde-27042009-120443/.
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Donas da Beleza discute a representação do feminino na cultura ocidental, presente na produção das artistas plásticas do século XX. O estudo foi desenvolvido para examinar, a partir de uma perspectiva estética e sóciocultural, os diferentes modelos de Beleza, a forma como são propostos, como coexistem, e ainda, como se remetem mutuamente através de diferentes períodos, sem perder o foco estabelecido o olhar feminino. Este parâmetro implicou um estudo comparativo que identifica semelhanças e diferenças no modo de representação de arquétipos dominantes no imaginário de homens e mulheres. Sob o título Configurações da Beleza Feminina comparecem as categorias: Divindade, Maternidade, Inocência, Maturidade, Sensualidade e Ideal. Constitui um quadro visual de referência em que artistas e obras estão alinhados a partir da diversidade quanto ao tratamento dos temas, técnicas e contextos de produção, localizando, numa linha de tempo que compreende o século XX e suas fases de transição, uma maior abertura, sugerindo outras leituras, ou seja; outros modos de ver a imagem da mulher, a mulher artista, a história da arte.In Owners of the Beauty I have studied the representation of feminine in the occidental culture in the production of the plastic female artists of 20th century. The study was developed to examine, from an aesthetic and socio-cultural perspective, the different models of Beauty, as they are considered, as they coexist, and still, as they relate through different periods, without losing the established focus - the feminine look. This parameter implied a comparative study that identifies similarities and differences in the way of representation of dominant archetypes in men and women imaginary. Under the heading Configurations of the Feminine Beauty these categories appear: Deity, Maternity, Innocence, Maturity, Sensuality and Ideal. It is a visual picture of reference where artists and workmanships are lined up by the diversity of treatment of subjects, techniques and contexts of production, in a time line that comprehends 20th century and its phases of transition and which imply other readings, other ways to see the image of the woman, the woman artist, the history of the art.
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Wade, Bussey Sahirah Fatin. « Pre-Service Art Teachers and the Use of Feminist Curriculum and Pedagogy in the Art Classroom ». Digital Archive @ GSU, 2007. http://digitalarchive.gsu.edu/art_design_theses/18.
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The purpose of this study was to determine answers to several research questions: 1.) What do pre-service teachers know about feminist pedagogy or teaching in ways that are culturally responsive? 2.) In what ways are pre-service teachers prepared to use feminist pedagogy? 3.) How is a lesson constructed utilizing a feminist curriculum? All participating pre-service Art Education students completed a Survey of Art History, a questionnaire of their background in Art History, a questionnaire on their ideas of feminist pedagogy, and completed a group brainstorming of lesson plans. Data was analyzed from student responses. Results support the need for teaching more feminist content and pedagogy. Recommendations are made for further research.
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Almeida, Flavia Leme de [UNESP]. « Desvios do barro : raízes culturais, feminismo e rituais nas poéticas de mulheres artistas da cena contemporânea latino-americana ». Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/154847.
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Este trabalho é resultado de um antigo anseio de situar o barro (cerâmica e argila) como suporte recorrente e relevante dentro da cena artística contemporânea latino-americana, sob a perspectiva dos trabalhos de mulheres artistas. A ênfase desta pesquisa se deu nas obras que se direcionam às questões das raízes culturais, do feminismo e dos rituais. A análise da arte da cerâmica ocorreu por um viés diferente dos modelos eurocêntrico e androcêntrico e das tradicionais correlações do barro com artesanato e design, segundo o olhar da pesquisa cartográfica. Também, por meio de estudo das poéticas de mulheres artistas latino-americanas contemporâneas e através de revisão literária, procedeu-se a análise entre elas. Deste modo, este estudo destacou algumas práticas da cerâmica contemporânea da América Latina, constatando os desafios da pouca bibliografia vigente sobre o tema, apontou diálogos culturais entre as mulheres artistas e a transcategorização das obras apresentadas, além de apresentar a produção artística da autora, inserindo-a neste contexto.
This work is the result of an ancient desire to situate mud (ceramics and clay) as a recurring and relevant support at the Latin American contemporary art scene, from the perspective of women artists. The emphasis of this research is on the artworks directed to the questions of the cultural roots, rituals and feminism. The analysis of the art of ceramics occurred by a diff erent way of the models eurocentric, androcentric and the traditional correlations of clay with craftwork and design, according to the cartographic research. Also by means of the study of the poetics of contemporary Latin American women artists and literary reviews, an analysis was carried out between them. Thus, this study highlighted some practices of contemporary ceramics in Latin America, noting the challenges of the current literature on the subject, pointed out cultural dialogues between women artists and the transcategorization of the works presented, besides presenting the artistic production of the author, inserting it in this context.
Este trabajo es resultado de un antiguo anhelo de situar el barro (cerámica y arcilla) como soporte recurrente y relevante dentro de la escena artística contemporánea latinoamericana, bajo la perspectiva de los trabajos de mujeres artistas. El énfasis de esta investigación se dió en las obras que se dirigen a las cuestiones de las raíces culturales, rituales y feminismo. El análisis del arte de la cerámica ocurrió de manera diferente del modelo eurocéntrico, androcéntrico y de las tradiciona- les correlaciones del barro con artesanía y diseño, según la mirada de la investigación cartográfi ca. También por medio de estudio de las poéticas de mujeres artistas latinoamericanas contemporáneas y a través de revisión literaria, se procedió el análisis entre ellas. De este modo, este estudio destacó algunas prácticas de la cerámica contemporánea de América Latina, constatando los desafíos de la poca bibliografía vigente sobre el tema, apuntó diálogos culturales entre las mujeres artistas y la transculturalización de las obras presentadas, además de presentar la producción artística de la autora, insertándola en este contexto.
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Bradley, Jessica. « Postmodern bodies and feminist art practice ». Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69635.
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This thesis examines, from a feminist perspective, conceptions of the body proposed by poststructuralist philosophy and postmodernist art practice. Within both feminist and postmodern critiques of the humanist subject, the body has come to be understood as a site of cultural inscriptions. In tracing the relationship between postmodernism and feminism, the thesis addresses specifically the shift from celebratory, affirmative female imagery typical of feminist art in the seventies, to the semiotic analysis of images of women which, in the eighties, problematized the question of sexual difference as one of representation. During the eighties women artists generally eschewed figurative representations of the female body in recognition of its over-determined socio-sexual status. Within this historical framework, the tension between the "de-materialized" body of postmodernity and the insistently present body of gendered experience is explored both in the work of feminist theorists and contemporary women artists. In conclusion, three corporeal sites--the cultural, the epistemological and the psycho-sexual--are analysed in the postmodern practices of Jana Sterbak, Nell Tenhaaf and Kati Campbell.
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Trizoli, Talita. « Atravessamentos feministas : um panorama de mulheres artistas no Brasil dos anos 60/70 ». Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-03122018-121223/.
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Nessa tese de doutorado, efetuo uma análise crítica da produção artística brasileira no trânsito da década de 60 para 70 do século XX, dentro dos pressupostos das teorias feministas de crítica cultural, com ênfase nas possibilidades de subjetivação do feminino pela prática artística. Para ser mais específica, preocupo-me aqui com certos trabalhos realizados por trinta artistas mulheres atuantes no período, contemporâneas entre si e do advento do feminismo de segunda onda no país, que envolvam as preocupações estéticas e plásticas em voga, e que permitam uma abordagem de crítica feminista justamente por trabalharem com problemáticas corpóreas e identitárias, que abarcam principalmente os limites e/ou possibilidades dos processos de subjetivação pela ótica dos confrontos e subversões do gênero.In this PHD Dissertation, I make a critical analysis of Brazilian artistic production in traffic of the 60 to 70 of the twentieth century, within the assumptions of feminist theories of cultural criticism, emphasizing the possibilities of female subjectivity by artistic practice. To be more specific, I am concerned here with some work done by thirty women artists working in this period, contemporary with each other and to the advent of the second feminism wave in the country, involving the aesthetic and plastic concerns in vogue, and that allow the approach of a feminist criticism, since they worki with body and identity issues, which mainly cover the limits and/or possibilities of subjective processes from the perspective of confrontations and subversions of the genre.
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Meskimmon, Marsha Gretta. « Women artists and the Neue Sachlichkeit : Grethe Jürgens and Gerta Overbeck ». Thesis, University of Leicester, 1992. http://hdl.handle.net/2381/35698.
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This work examines the complex relationship between gender and the work of women artists associated with the Neue Sachlichkeit. The critical 'realism' of the Weimar Republic has become best-known through the work of artists such as Otto Dix, George Grosz and Christian Schad, but a number of women artists also engaged with the aesthetic, including Grethe Jurgens and Gerta Overbeck. Jurgens and Overbeck were part of the Hanoverian regional variation of the Neue Sachlichkeit which flourished between 1925 and 1938. In this thesis, the works of Jurgens and Overbeck are examined with particular reference to the gender politics of the Weimar Republic. Rather than rely upon masculine-normative practices which privilege individual artists and biographical techniques, this thesis explores four themes in the representations of the artists within the wider context of gendered cultural ideology. The first chapter takes as its theme the asymmetrical situation of men and women with respect to the concept of the 'artist' and evaluates the ways in which women realists of the period produced strong, artistic identities through their art. Chapter Two explores the pervasive association of domesticity with women in terms of the representations produced by Jurgens and Overbeck. The third and fourth chapters turn toward the public sphere and examine the ways in which gender conditioned the responses of the artists to the subjects of other women and politics. This work is vital for three reasons. First, it provides information about the work of a number of artists hitherto under-researched and under-valued. Second, the work attests to the active role of gender in the Neue Sachlichkeit and exposes the male-centredness of the movement. Third, it combines theoretical ideas and practice meaningfully; it is an example of feminist praxis in the study of women artists.
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Murillo, Núñez Nicole. « Tránsitos e intervenciones feministas. Performance en artistas/activistas argentinas : Mujeres Públicas y Valeria Flores ». Tesis, Universidad de Chile, 2017. http://repositorio.uchile.cl/handle/2250/168201.
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Magister en Estudios de Género y Cultura en América LatinaLa presente investigación tiene por propósito indagar en las estrategias que determinadas artistas y colectivos artísticos feministas argentinos actuales despliegan en sus discursos estéticos y políticos. El interés por analizar estos objetos se origina a partir de las herramientas críticas obtenidas luego de haber cursado el programa en estudios de género, así como también haberme aproximado al análisis de diversas manifestaciones artísticas feministas, descubriendo en esta esfera, la del arte feminista, la relación entre las demandas políticas, el pensamiento teórico feminista y las exploraciones por parte de las artistas. “Las feministas han transformado el arte al tiempo que se han contando entre sus principales críticas. Es más, el feminismo ha redefinido los términos esenciales del arte de finales del siglo xx, poniendo de relieve presunciones culturales sobre el género y politizando el vínculo entre lo privado y lo público, explorando la naturaleza de la diferencia sexual y realzando la especificidad de los cuerpos determinados por el género, la raza, la edad y la clase social” (Reckitt, 2005:13). Pese a la evidente importancia de este movimiento artístico con presencia de más de cuatro décadas en distintas latitudes, en nuestro contexto regional continúa invisibilizado. La discusión en el ámbito académico es aún muy limitada. De igual manera acontece en el ámbito del arte, donde los museos y distintas instituciones dedicadas a las exposiciones artísticas no brindan un espacio significativo a la producción feminista. Por ello, esta investigación se propone aportar a la conformación de un campo analítico que releve las creaciones artísticas y las instale en discusión con contextos culturales específicos. Por otra parte, gran parte de las obras más interesantes del arte feminista han tratando sobre el dolor y el trauma, recursos sin duda tremendamente poderosos que posibilitaron plasmar en el ámbito del arte el despertar de la conciencia feminista colectiva, excediendo así la esfera artística y proyectándose a ser cuestionadores y transformadores del tejido cultural
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York, Rosemary Patricia. « Female artists and intellectuals in the late Victorian novel ». Thesis, University of Ulster, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.258028.
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Costa, Deise Bastos da. « Figurações da mulher-artista nos contos de Adriana Lunardi ». reponame:Repositório Institucional da FURG, 2010. http://repositorio.furg.br/handle/1/2671.
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Dissertação(mestrado) - Universidade Federal do Rio Grande, Programa de Pós-Graduação em Letras, Instituto de Letras e Artes, 2010.Submitted by Cristiane Silva (cristiane_gomides@hotmail.com) on 2012-09-24T12:30:12Z No. of bitstreams: 1 deisebastos.pdf: 1074024 bytes, checksum: dbea90ca29ec6848098cd17d9e863a30 (MD5)
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Nesta dissertação, a partir da análise do conto “Uma biografia para Barbie”, em As meninas da Torre Helsinque (1996), e de “Sonhadora”, “Ginny”, “Flapper” e “Clarice”, em Vésperas (2002), ambas as obras de autoria de Adriana Lunardi (SC, 1964), investigo as estratégias narrativas que a escritora utiliza, a fim de iluminar questões que envolvem a arte e a artista. Situo seu discurso na confluência de três paradigmas de gênero (literário e categoria de análise) postos em tensão: o Künstlerroman de autoria feminina, a biografia ficcional ou imaginária e o conto. Examino de que modo a autora constrói retratos da mulher-artista, seja ela uma figura documentada pela historiografia oficial ou um ser possível e imaginável, no viés tanto da trajetória da protagonista-artista, quanto dos processos intertextuais e dialógicos presentes na écriture lunardiana. A ênfase na análise da representação da artista em narrativas curtas de Adriana Lunardi conduz a discussões tais como: o conflito arte versus vida, o diálogo constante entre memória e expressão artística, o corpo feminino, o processo simbólico de morte e re/nascimento, as construções literárias mise en abyme e os jogos intertextuais. Devido ao caráter bibliográfico e hermenêutico da presente pesquisa, na abordagem crítica e analítica aos textos, além dos fundamentos teóricos, utilizo documentos externos aos contos; alguns pertencem ao campo da história (biografias oficiais) e outros, ao da literatura (obras das protagonistas). A narrativa curta de Lunardi, além de inovar configurações dos gêneros literários, Künstlerroman e biografia ficcional, amplia as fronteiras dos estudos de gênero. As distintas figurações da mulher-artista nos contos instauram o diálogo entre uma grande diversidade de textos, fato que traz maior visibilidade à autoria feminina e demonstra a flexibilidade da moldura da historiografia literária brasileira.
In this dissertation, from the analysis of “Uma biografia para Barbie”, in As meninas da Torre Helsinque (1966), of “Sonhadora”, “Ginny”, “Flapper” and “Clarice”, in Vésperas (2002), both works by Adriana Lunardi (SC, 1964), I investigate the narrative strategies the writer uses in order to enlighten the questions that deal with art and the woman-artist. I locate her discourse in the confluence of three paradigms of gender as well as genre which are placed under tension: the female Künstlerroman, the fictional biography and the short-story. I examine how the writer builds pictures of the woman-artist, being her a historical and officially documented subject or a possible and imaginary being, from the perspective of both the protagonist-artist´s trajectory and of the writer´s intertextual and dialogic processes involved in her écriture. The emphasis on the analysis of the artist´s representation in shortstories by Adriana Lunardi leads to discussions on: the conflict art versus life, the permanent dialogue between memory and artistic expression, the female body, the symbolic process of death and re/birth, the mise en abyme literary constructions and the intertextual games. Due to the bibliographic and hermeneutic character of the present research, throughout the critic and analytic approach to the short-stories besides the theoretical basis I use documental material external to the corpus; some of them belong to the field of history (traditional and official biographies) and some to the literary one (the protagonists´ works). Lunardi´s short-stories, besides innovating in terms of the configurations of literary genres, Künstlerroman and fictional biography, enlarge the frontiers of the studies of gender. The distinct representations of the woman-artist in the short-stories establish the dialogue among a great diversity of texts, fact that allows the female authorship a wider visibility and demonstrates how flexible the framework of the Brazilian literary historiography is.
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Baert, Renee. « Poetics of the body in feminist art : three modalities ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0022/NQ29882.pdf.
Texte intégral
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Schiavon, Laurita Marconi 1975. « Ginastica artistica feminina e historia oral : a formação desportiva de ginastas brasileiras participantes de jogos olimpicos (1980-2004) ». [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/274803.
Texte intégralRésumé :
Orientador: Roberto Rodrigues PaesTese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação Fisica
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Resumo: Os resultados das atletas brasileiras da Ginástica Artística feminina nos últimos 10 anos apresentaram uma expressiva evolução nas competições de nível internacional. Na busca de informações científicas dessa evolução, o presente estudo teve o propósito de conhecer o processo de formação desportiva das atletas brasileiras participantes de Jogos Olímpicos, na modalidade de Ginástica Artística Feminina, de 1980 a 2004. Para isso foi desenvolvida uma pesquisa qualitativa utilizando-se o método de História Oral, com os depoimentos das dez ginastas brasileiras classificadas para os Jogos Olímpicos neste período, para se obter o diagnóstico das suas histórias de vida desportiva. A análise abrangeu 14 temas e categorias - alguns inicialmente elencados para a pesquisa de campo e outros que emergiram dos depoimentos: iniciação desportiva na GA, participação em outras modalidades desportivas, seus ídolos, condições de infra-estrutura dos treinamentos, estrutura e organização dos treinamentos, aspectos nutricionais, aspectos psicológicos, incidência de lesões, a participação nas Olimpíadas, relação técnico-ginasta, apoio familiar, condições financeiras, influências determinantes e encerramento da carreira desportiva na GA. Como resultado, são oferecidas diretrizes para reflexões sobre a formação desportiva em GAF.
Abstract: Brazilian female athletes' results in Artistic Gymnastics evolved hugely in international level competitions in the last ten years. In the search of scientific information about this evolution, the present study aimed to learn about the long-term athlete development of the Brazilian female Artistic Gymnastics participating in Olympic Games in the period between 1980 and 2004. In order to do so it was developed a qualitative research which made use of the Oral History methodology. Testimonies were gathered among the ten classified Brazilian athletes for the Olympic Games in this period of time, to obtain the diagnosis of their sport life. From the field research and testimonies 14 themes emerged and were analysed: sport initiation in Artistic Gymnastics, participation in other sports modalities, their idols, facilities of trainings, designing training programs, nutritional aspects, psychological aspects, injuries, the participation in the Olympic Games, the relationship coach-athlete, parental support, financial conditions, most important influences and retirement in Artistic Gymnastics. As a result of this analysis there is an indication of an educational proposal for long-term athlete development in Women's Artistic Gymastics.
Doutorado
Pedagogia do Movimento
Doutor em Educação Física
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Guerrero, Danica Lynn Eisman. « Quebec's Revolution Tranquille Reflected Through Artists' Voices (1945-1995) ». Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707406/.
Texte intégralRésumé :
The Quebec of the Quiet Revolution invites a fascinating sociocultural study, and this analysis provides an overview of major changes there during the 1960s and 1970s. The author analyzes how artistic, literary, and musical contributions of the era reflected the public's sentiments toward this metamorphosis. References to political cartoons, plays, poetry, songs, and non-fiction works such as essays and manifestos illustrate attitudes toward the shifting role of the Catholic Church, the arrival of a Liberal government following an ultra-conservative administration, the feminist movement, economic and education reform, and the transformation of Quebec's identity through fierce debates over the status of French and English in the province. Policies enacted by Quebec Prime Ministers, especially Maurice Duplessis, Jean Lesage, and René Lévesque were pivotal to the emerging society. Events such as Vatican II, the publication of the Encyclical letter Humanae Vitae, and the efforts of Catholic Action revealed two concurrent strains of Catholicism present in Quebec and the extent to which the Church had become disconnected from society. This study examines major feminist aims within the historical and literary context and considers how collective efforts were critical to advancing their agenda. Ambitious economic measures enabled Quebec's francophone population to catch up to their anglophone counterparts and promoted the long-term prosperity of the entire province. The study features perspectives informed by recent interviews conducted with Quebecois people who witnessed, participated in, and reflected on these dramatic events.
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Tupper, Denise. « My Family of Women : Celebrating Blackness and Exploring Themes of Black Feminism ». Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/182.
Texte intégralRésumé :
This paper maps themes (e.g. family, beauty, femininity, gender, blackness, representation) and artists from the Black arts and Feminist art movement who have been very influential when planning this senior art project. I specifically look at the works of Black feminist artists such as Betye Saar, Faith Ringgold, Carrie Mae Weems, Kara Walker, and Mickalene Thomas who navigate themes from both movements. In my project I have painted a series of interpretive acrylic portraits of close friends and family members, all adapted from photographs.
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Batorowicz, Beata Agnieszka, et n/a. « Undoing Big Daddy Art : Subverting the Fathers of Western Art Through a Metaphorical and Mythological Father/Daughter Relationship ». Griffith University. Queensland College of Art, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040319.090547.
Texte intégralRésumé :
The canon of Western art history provides a selection of artists that have supposedly made an 'original' contribution to stylistic innovation within the visual arts. Although a process of selection cannot be avoided, this procedure has resulted in a Eurocentric and patriarchal art canon. For example, the Western art canon consists of certain white male artists who are given exclusive authority and are often referred to as the 'fathers of art'. As the status of a 'father of art' pertains to the highest level of achievement within artistic creativity, I argue that this excellence in creativity is based on a gender specific criteria. This issue refers to the patrilineage within Western art history and how this father-son model, in a general sense, excludes women artists from the canon. Further, the very few women included in the art canon are not given the equivalent status as a 'father of art'. I address this patriarchal bias through focussing on the father/daughter relationship as a way of challenging the patrilineage within Western art historys patrilineage. Through this process of intervention, I position the daughter an assertive figure who directly confronts the fathers of Western art. Within this confrontation, I emphasise that the daughter has an assertive identity that is also beyond the father. On this premise my paper is based on the argument that the application of a father/daughter model, within a metaphorical and mythological sense, is useful in subverting the father figures within Western art history. That is, I construct myself as the metaphorical and mythological daughter of the Dada artist, Marcel Duchamp and the Fluxus artist, Joseph Beuys. As an assertive daughter, I insert myself into the patriarchal framework surrounding these two canonical figures in order to decentre and subvert their authority and phallocentric art practice. It is important to note that both Duchamp and Beuys are addressed as case studies (not as individual arguments) that illustrate the patriarchal constructs of the art canon. Within this premise, I draw upon the female artists Sherrie Levine and Jana Sterbak who directly subvert Western father figures as examples of assertive daughter identities. Within this exploration of the assertive daughter identity, I discuss feminist psychoanalysis (particularly the 'object relations' theorist Nancy Chodorow and the French feminist, Luce Irigaray) in order to offer metaphorical representations of the assertive daughter. These metaphors also assist in subverting the gender (male) specific criteria for creativity under the 'law of the father'.
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Perkins, Gillian Hugman. « Issues in the construction of identity of some contemporary women artists ». Thesis, University of Northampton, 1999. http://nectar.northampton.ac.uk/2979/.
Texte intégralRésumé :
This thesis is based on an empirical study of forty-three contemporary women artists. The aim of this research was to explore how a number of factors impact on these women’s construction of their identity as artists. The women were selected through the East Midlands Arts register of artists, and therefore targeted women who had already identified themselves as practitioners. Although they all registered themselves as painters, their use of such terms as painter and artist, as my research revealed, was fluid, being dependent on changing perceptions of self. The research was conducted in line with feminist theories, which privilege gender as a defining characteristic of people’s experience. This is not to sanction notions of essentialism and therefore the research does not seek to universalise the position “woman”, but rather attempts to gain an understanding of the diversity of women’s experiences. To that end, the research data were collected through the use of both questionnaires and in-depth, semi-structured interviews. Five main categories emerged from the interviews, which formed the basis of the data analysis and interpretation. These were: issues concerning the conventional image of the artist and the limited availability of role models this provides for women artists; the relationship between women’s sense of their identity as females and its impact on their ability to combine that with an artist identity; the role of higher art education in constructing images of the artist; the part played by women artists’ social relations, including their relationships and roles within the family; and the models and realities of working practices, including the implications of the site of production and forms of dissemination. Two patterns emerged in my sample group regarding the various ways of constructing an artist identity. They largely reflected the impact of socialisation which, it would appear, requires women to adopt either a traditional female role around which the artist identity somehow has to be worked, or a traditional artist role which still challenges the adoption of a certain kind of female identity. The women in my sample group, however, showed signs of attempting to negotiate their own pathways towards complex and multiple identities; a process made more intricate for women with an additional identity of mother
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Bolzt, Kerstin. « Women as artists in contemporary Zimbabwe / ». Eckersdorf, Germany : Breitinger, 2007. http://www.loc.gov/catdir/toc/fy0804/2008400471.html.
Texte intégral
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Simon, Jodie Christine. « The derailment of feminism : a qualitative study of girl empowerment and the popular music artist ». Thesis, Wichita State University, 2012. http://hdl.handle.net/10057/5541.
Texte intégralRésumé :
“Girl Power!” is a message that parents raising young women in today’s media-saturated society should be able to turn to with a modicum of relief from the relentlessly harmful messages normally found within popular music. But what happens when we turn a critical eye toward the messages cloaked within this supposedly feminist missive? A close examination of popular music associated with girl empowerment reveals that many of the messages found within these lyrics are frighteningly just as damaging as the misogynistic, violent, and explicitly sexual ones found in the usual fare of top 100 Hits. In fact, this cooption of feminist messages introduces a new danger in that it masks the commodification of feminism into a marketed brand of heightened sexual awareness (Gill 2008) while promoting traditional male behaviors as equalizing acts of power (Kilbourne 2009 ).Thesis (M.A.)--Wichita State University, Fairmount College of Liberal Arts and Sciences, Dept. of Liberal Studies
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Photiou, Maria. « Rethinking the history of Cypriot art : Greek Cypriot women artists in Cyprus ». Thesis, Loughborough University, 2013. https://dspace.lboro.ac.uk/2134/12139.
Texte intégralRésumé :
This thesis brings together women artists art practices situated in five key periods of Cyprus socio-political history: British colonial rule, anti-colonial struggle, 1960 Independent, the 1974 Turkish invasion and its aftermath of a divided Cyprus, which remains the case in the present day. Such study has not been done before, and for this, the current thesis aims to provide a critical knowledge of the richness and diversity of Greek Cypriot women's art practices that have frequently been marginalised and rarely been written about or researched. As the title suggests, this thesis engages in rethinking the history of Cypriot art by focusing on the art produced by women artists in Cyprus. By focusing primarily on the work of Greek Cypriot women artists I am interested to explore the conditions within which, through which and against which, women negotiate political processes in Cyprus while making art that is predominantly engaged in specific politicised patterns. The meeting point for the artists is their awareness of being women artists living in a colonised, patriarchal country under Greek Cypriot nationality. While these artists assumed very different positions in their experience of the several phases of Cyprus history, they all negotiate in their practice territorial boundaries and specific identity patterns. Significant to my thesis are a number of questions that I discuss in relation to women artists professional careers and private lives: nationalism, militarism, patriarchy, male dominance, social and cultural codes, ethnic conflict, trauma, imposed displacement through war, memory and women's roles, especially as mothers, in modern and contemporary Cyprus. Thus, I address questions of how women artists in Cyprus experienced such phenomena and how these phenomena affected both their lives and their art practices.
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Van, der Merwe Leana. « Sacrificial and hunted bodies : ritualistic death and violence in the work of selected South African female artists ». Diss., University of Pretoria, 2014. http://hdl.handle.net/2263/46213.
Texte intégralRésumé :
This study investigates the multiple occurrence of violent sacrificial imagery
associated with animalistic and hunted bodies in the work of selected South African
female artists as an articulation of the society in which the art was created. The
theoretical framework of corporeal feminism is applied with reference to the
postulations of George Bataille (1962), René Girard (1972) as well as Deleuze and
Guattari (1984,1987), specifically with regard to the notion of becoming animal. This
study shows how such imagery is used to act as a catalyst for social change by
challenging Cartesian dualisms and forefronts certain issues applicable to women in
a society that is patriarchal and violent. A comparison is made with the art of a
selected group of Australian female artists who deal with similar themes and imagery
from more or less the same timeframe.Dissertation (MA)--University of Pretoria, 2014.
tm2015
Visual Arts
MA
Unrestricted
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Beskow, Daniela Alvares 1983. « O discurso das mulheres na cena paulistana de 2015-2016 : uma proposta feminista de análise de espetáculos / ». São Paulo, 2017. http://hdl.handle.net/11449/152099.
Texte intégralRésumé :
Orientadora: Lúcia Regina Vieira RomanoBanca: Kathya Maria Ayres de Godoy
Banca: Maria Brigida de Miranda
Resumo: Esta pesquisa investiga espetáculos cênicos - das áreas de teatro, dança e arte da performance - apresentados na cidade de São Paulo durante o biênio 2015-2016, que trazem apenas mulheres em cena. A partir de uma perspectiva feminista e materialista, foi desenvolvida a metodologia denominada "análise contextualizada" ou "análise situada", utilizada para observar e analisar espetáculos teatrais a partir de suas dramaturgias cênicas. Em seguida, são propostas questões sobre mulheres em cena e artes cênicas a partir do debate e realidade de violência contra as mulheres no Brasil, assim como de reflexões e ações derivadas dos movimentos feministas, originando um esboço do conceito: "dramaturgia cênica feminista".
This work investigates escenic performances - theater, dance and performance art - performed at São Paulo city during the biennium 2015-2016, with just women on scene. From a feminist and materialist perspective, it was developed the metodology named "contextualized analysis" or "situated analysis", used to observe and analyse theatrical performances from which their escenic dramaturgies. Subsequently, questions about women on scene and escenic arts are suggested from which the debate and reality of violence against women on Brazil, as well from thoughts and actions derived from the feminists movements, originating a sketch of the concept: "feminist escenic dramaturgy".
Mestre
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Brunton, Jennifer. « Cultural narratives and the historical subject : Annie Garnett, her diary, life and works ». Thesis, Lancaster University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.301817.
Texte intégralRésumé :
This thesis investigates and contextualises as a historical subject a woman textile artist, Annie Gamett (1864-1942). It explores her personal writings, in particular the diary which she kept between the years 1899 and 1909. The use of autolbiographical writings requires a reflexive methodology. In recognising this I engage with the fragmentary material in the archive using feminist theories and discourses to produce an 'intellectual biography', within which the elements of Annie Gamett's life, revealed through her own words, interact with the cultural narratives which challenged and impinged on her individual life. In engaging with Annie's subjectivity, as a historical 'site', I aim to reveal the subtle complexities of 'real' lived experience, and show how a woman, who was inspired by her love of nature and troubled by the effects of industrialisation, was able to develop her creative skills and run a successful textile business within the remit of the Arts and Crafts Movement. My approach to this historical subject unites a feminist perspective with an endorsement of the discipline of Women's History and its central commitment to the recovery of lost vOIces.
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Wyer, Sarah. « Folk Networks, Cyberfeminism, and Information Activism in the Art+Feminism Wikipedia Edit-a-thon Series ». Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22752.
Texte intégralRésumé :
This thesis explores how the Art+Feminism Wikipedia Edit-a-thon event impacts the people who coordinate and participate in it. I review museum catalogs to determine institutional representation of women artists, and then examine the Edit-a-thon as a vernacular event on two levels: national and local. The founders have a shared vision of combating perceived barriers to participation in editing Wikipedia, but their larger goal is to address the biases in Wikipedia’s content. My interviews with organizers of the local Eugene, Oregon, edit-a-thon revealed that the network connections possible via the Internet platform of the event did not supersede the importance of face-to-face interaction and vernacular expression during the editing process. The results of my fieldwork found a clear ideological connection to the national event through the more localized satellite edit-a-thons. Both events pursue the consciousness-raising goal of information activism and the construction of a community that advocates for women’s visibility online.
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Almeida, Flavia Leme de 1978. « Desvios do barro : raízes culturais, feminismo e rituais nas poéticas de mulheres artistas da cena contemporânea latino-americana / ». São Paulo, 2018. http://hdl.handle.net/11449/154847.
Texte intégralRésumé :
Orientador: Lalada DalglishBanca: José Paiani Spaniol
Banca: Claudia Fazzorali
Banca: Hugo Fernando Salinas Fortes Junior
Banca: Ângela Cristina Lopes Legname Barbour
Resumo: Este trabalho é resultado de um antigo anseio de situar o barro (cerâmica e argila) como suporte recorrente e relevante dentro da cena artística contemporânea latino-americana, sob a perspectiva dos trabalhos de mulheres artistas. A ênfase desta pesquisa se deu nas obras que se direcionam às questões das raízes culturais, do feminismo e dos rituais. A análise da arte da cerâmica ocorreu por um viés diferente dos modelos eurocêntrico e androcêntrico e das tradicionais correlações do barro com artesanato e design, segundo o olhar da pesquisa cartográfica. Também, por meio de estudo das poéticas de mulheres artistas latino-americanas contemporâneas e através de revisão literária, procedeu-se a análise entre elas. Deste modo, este estudo destacou algumas práticas da cerâmica contemporânea da América Latina, constatando os desafios da pouca bibliografia vigente sobre o tema, apontou diálogos culturais entre as mulheres artistas e a transcategorização das obras apresentadas, além de apresentar a produção artística da autora, inserindo-a neste contexto.
Resumen: Este trabajo es resultado de un antiguo anhelo de situar el barro (cerámica y arcilla) como soporte recurrente y relevante dentro de la escena artística contemporánea latinoamericana, bajo la perspectiva de los trabajos de mujeres artistas. El énfasis de esta investigación se dió en las obras que se dirigen a las cuestiones de las raíces culturales, rituales y feminismo. El análisis del arte de la cerámica ocurrió de manera diferente del modelo eurocéntrico, androcéntrico y de las tradiciona- les correlaciones del barro con artesanía y diseño, según la mirada de la investigación cartográfi ca. También por medio de estudio de las poéticas de mujeres artistas latinoamericanas contemporáneas y a través de revisión literaria, se procedió el análisis entre ellas. De este modo, este estudio destacó algunas prácticas de la cerámica contemporánea de América Latina, constatando los desafíos de la poca bibliografía vigente sobre el tema, apuntó diálogos culturales entre las mujeres artistas y la transculturalización de las obras presentadas, además de presentar la producción artística de la autora, insertándola en este contexto.
Abstract: This work is the result of an ancient desire to situate mud (ceramics and clay) as a recurring and relevant support at the Latin American contemporary art scene, from the perspective of women artists. The emphasis of this research is on the artworks directed to the questions of the cultural roots, rituals and feminism. The analysis of the art of ceramics occurred by a diff erent way of the models eurocentric, androcentric and the traditional correlations of clay with craftwork and design, according to the cartographic research. Also by means of the study of the poetics of contemporary Latin American women artists and literary reviews, an analysis was carried out between them. Thus, this study highlighted some practices of contemporary ceramics in Latin America, noting the challenges of the current literature on the subject, pointed out cultural dialogues between women artists and the transcategorization of the works presented, besides presenting the artistic production of the author, inserting it in this context.
Doutor
30
McKenna, Libby. « Audience interpretations of the representation of women in music videos by women artists ». [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001670.
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Lilly, Mary. « 'The World is Not a Safe Place for Men' : The Representational Politics of the Manosphere ». Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/35055.
Texte intégralRésumé :
This thesis offers an overview of the representational politics of the online antifeminist community known as the ‘manosphere’. It analyzes how gender and gender politics are represented in the discourse, with an eye to how traditional gender constructs, and traditional gendered norms and inequalities, are reproduced.
This project—the first study to focus exclusively on the manosphere—contributes to our understanding of the community in two ways; it addresses a significant gap in the literature on the topic, and it tests the accuracy of the ‘conventional wisdom’ on the manosphere.
Using mixed-methods critical discourse analysis, the study analyzed the discourse of the two primary subcultures of the community, and found that traditional gender norms and relations are reproduced therein, and that for the most part the conventional wisdom is accurate: femininity and women are disparaged, masculinity is imagined to be ‘in crisis’ (constantly under siege by feminizing forces), and feminism is represented as hypocritical and oppressive.
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Franklin, Serena. « Ill beats : black women rap artists and the representations of women in hip hop culture ». Honors in the Major Thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/336.
Texte intégralRésumé :
This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
Anthropology
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Brown, Melanie. « Appropriation and irony, postmodernist elements in the work of three contemporary Canadian feminist artists, Skai Fowler, Christine Davis and Joanne Tod ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ48378.pdf.
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Brown, Melanie (Melanie Alison) Carleton University Dissertation Art History. « Appropriation and irony ; postmodernist elements in the work of three contemporary Canadian feminist artists Skai Fowler, Christine Davis and Joanne Tod ». Ottawa, 1999.
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Lewis, Mischka Jade. « Artistic Interventions in the Historical Remembering of Cape slavery, c.1800s ». University of the Western Cape, 2020. http://hdl.handle.net/11394/8076.
Texte intégralRésumé :
Magister Artium - MAThis mini-thesis thesis intends to grapple with silences by looking the possibilities of reconceptualising archives through notions of “traces,” “absence,” and “fragments.” Examining archives as bodies of knowledge, a window to telling us something about pastpresent- future representations is to think about navigating archives of colonialism and slavery as sites of historical memory. The aim of this paper is to enter the pedagogical problem of remembering and gendered representational voids by seeking to explore how artistic representations offer insights in the absence of detail in the colonial archives. In exploring the relationship between bodies, remembering and the historical trauma of slavery and colonialisation, specifically in relation to historical corporeal and flesh narratives attached to indigenous black women, and how women negotiate these meanings through embodied interventions in (post-) slavery South Africa. The positioning of the body as an archive probes questions on how the memory of traumatic wounding in a (post-)slavery South Africa body politics are inscribed to convey meaning, memory and identity. The notions of embodiment that this thesis is concerned with asks in what ways can we creatively and imaginatively re-construct, outside of conventional historiographies and knowledge(s), that which has been disembowled through colonial dominating narratives of enslaved subjects?
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Clement, Jennifer. « Reforming Dance Pedagogy : A Feminist Perspective on the Art of Performance and Dance Education ». [Tampa, Fla] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0002197.
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Goldman, Saundra Louise. « "Too good lookin' to be smart" : beauty, performance, and the art of Hannah Wilke / ». Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
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Kiel, Jeannette Larino Wooden. « Women's stories of ecofeminist activism and artistic expression| A transdisciplinary spiritual feminist inquiry into transformative and spiritual connections ». Thesis, California Institute of Integral Studies, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10183257.
Texte intégralRésumé :
This dissertation explores the stories of seven women spiritual-ecofeminist-activist-artists, including myself. It answers the question, What transformative and spiritual connections does one have with her ecofeminist activism and art?
This study connects different ways of knowing from the mind, body, heart and spirit; and it has three significant dimensions. The first dimension—transdisciplinary spiritual feminist inquiry—allows the researcher to interconnect several disciplinary ways of knowing, and it presents feminist ways to inquire about experiences with activism and creative artistic expression. The second dimension—exploration of transformational and spiritual connections—explores how study participants experience spiritual connections within their spiritual-ecofeminist-activist-artwork. The third dimension—inspirational narratives—holds the hope for the reader to connect to these stories, ecofeminist activism, and artwork, and become inspired to become agents of creative social change. After the conclusion of each of the interviews, I created a reflective art-piece, inspired by each artist-activist.
The research methodology combines transdisciplinary inquiry with feminist and women’s spirituality methods. Epistemological approaches are rooted in women’s spirituality and feminism.
The responses of the seven women spiritual-ecofeminist-activist-artists revealed, upon analysis, nine shared themes: Inspiring Others; Finding One's Voice, Connecting to Ancestors, Healing; Honoring/Connecting to Nature, Finding Community, Traveling, Greening Daily Life, and Discovering/Honoring the Goddess. These themes, along with the three main themes—Early Inspiration and Goals, Art and Activism Interconnections, and Spiritual Dimensions—affirm that numerous spiritual and transformative connections exist between their activism and creative artwork, and that these connections are dependent upon the person’s background, history, chosen spiritual-ecofeminist-activist-artwork, and creative media. Their responses indicate that there is a spiritual component to their spiritual-ecofeminist-activist-artwork and that their activism and artwork are interconnected. Their responses show that each of the seven women spiritual-ecofeminist-activist-artists defines ecofeminism in her own unique way, while making connections to nature, women, the sacred feminine or Goddess, and healing. And they utilized art and spiritual sources to heal and regain balance in their lives. The voices in this study, through storytelling, create a space of “multiple consciousness,” where the multi-dimensional voices of the seven women spiritual-ecofeminist-activist-artists are heard and valued.
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Kellner, Michael S. « Creativity As Concept ». The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1405608425.
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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.
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Thesis (Ph. D.)--North Texas State University, 1986.Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 367-404).
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Oliva, João Carlos. « Análise morfológica em crianças que praticam a ginástica olímpica feminina ». reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 1999. http://hdl.handle.net/10183/105083.
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O objetivo do estudo foi analisar variáveis antropométricas e de composição corporal em crianças, do sexo feminino. Os participantes foram selecionados de forma intencional e divididos em dois grupos: crianças que participaram do Campeonato Brasileiro de Ginástica Olímpica, nos anos de 1995, 1996 e 1997 (grupo das ginastas) e crianças que não praticaram nenhum esporte competitivo nos mesmos anos (grupo das não atletas). A metodologia utilizada foi desenvolvimentista com um delineamento transversal de comparação entre grupos. As variáveis antropométricas analisadas foi massa corporal~ estatura, comprimento tronco-cefálico e comprimento de membros inferiores. A composição corporal foi analisada mediante estimativa quanto à quantidade de gordura corporal e à massa magra. Para o tratamento estatístico das variáveis, recorreu-se ao teste "t'' de Student para amostra independente, através do software SPSS for Windows (versão 8.0). Os resultados encontrados permitiram concluir que: a) o peso corporal em todas as idades, apresentou valores significantes maiores no grupo das não atletas; b) a estatura corporal e o comprimento troncocefálico apresentaram similar proporção em ambas os grupos, em todas as faixas etárias ; c) o comprimento dos membros inferiores foi superior no grupo das não atletas; d) o indicadores da composição corporal revelaram resultados alternados nos valores médios de gordura corporal, entre os grupos, com uma tendência, de apresentar valores masi elevados para o grupo das não atletas ; e) o componente endomorfo foi predominante no grupo das não atletas; f) o componente mesomorfo foi predominante no grupo das ginastas; g) não houve predominância no componente ectomorfo em todas as idades. Finahnente, pode-se concluir que o grupo das ginastas apresentou características de menor estatura e predominância do componente muscular em relação ao grupo das não atletas, e essas características, aparentemente, não são definidas pelo treinamento sistemático.The aim of this research was to analyze the characteristics of anthropometric and body composition variables of female children. The participants, aged between 9 and 12 years, were selected intentionaliy and divided in two groups; one composed by chiidren who participated in the Artist Braziiian Gymnastic Championship during the years 1995, 1996, 1997, and the other by chiidren who did not practice any competitive sport during the same years. Methodology consisted of transversal design, with comparison of the two groups in ali ages by means of a Student "t'' test for índependent sampies (SPSS for windows, Versíon 8.0). The anthropometric variables anaiyzed were body mass and stature, trunk-cephalic length and Iower limbs length. The body composítíon variables were percentage o f body fat, fat body mass and Iean body mass. In general the results allowed to conclude that: a) in ali ages, the non-athletes group showed a sígnificantiy higher eievated in body weight; b) the stature and trunk-cephalic length increased proportionaliy for the two groups in ali ages; c) the Iower limbs Iength was higher in the non-athletes group in ali ages; d) the body composition revealed altemating results in the mean vaiues of body fat between the two groups with a tendency o f higher values for the non-athletes group; e) the endomorph component composition was predomínant in the non-athletes group at ali ages; f) the mesomorph component composition was predominant in the athletes group; and g) there was no difference in the ectomorph component composition between the groups at all ages. Finaly, conclusion was that the gymnasts are shorter with a higher muscular component than the non-athletes and that these characteristic are not defined by the systematic training.
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Caramés, Sales Ánxela. « Las prácticas curatoriales feministas en el Estado Español (1993-2013). La gestión cultural como productora del discurso de las identidades de género ». Doctoral thesis, Universitat Politècnica de València, 2016. http://hdl.handle.net/10251/62863.
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[EN] CURATORIAL FEMINIST PRACTICES IN THE SPANISH STATE (1993-2013). CULTURAL MANAGEMENT AS A PRODUCER OF GENDER IDENTITIES DISCOURSE
This PhD thesis discuss on artistic practices and theoretical discourses of feminist art developed within the Spanish State since the late eighties to the present, focusing on how the exhibitions on gender issues have been building and structuring the feminist theoretical and visual discourse.
This research comes with the intention to deepen in the specific context of the Spanish feminist art, which present certain differences with the European and North American ambit. We are interested in assessing how the theory and practice of foreign feminist art has greatly influenced its development and implementation, and in its turn, identify which have been the contributions of the Spanish feminist cultural production. In this purpose we have used the methodology of art history, cultural studies and feminist theory. Based on the peculiarities of the socio-political Spanish context where the essentialist trend, which revalues the female identity from the difference, coexists with the constructionist which understands gender as a socio-cultural construction, interspersed with the queer perspective, which claims other bodies and other non-regulatory sexualities, while reviewing the performing masquerade of femininity and masculinity.
The first part treats the artistic strategies of international feminism and the main exhibitions abroad are reviewed. On the other hand an approach to the social, political and cultural context in the Spanish State in relation to gender issues, at the same time included a review of the evolution of the Spanish Feminist Movement.
The second part focuses on exhibitions with gender issues within the Spanish state since the nineties, when they begin to arise from feminist positions. However, so-called 'women's exhibitions' proliferate at this time, developing with better or worse curatorial approach issues related to female artists. Therefore, we are also interested in assessing the potential relevance and impact of this type emerged as a tool of cultural policy in institutional feminism exhibitions.
Finally, the third part reflects on the characteristics of the feminist cultural management, based on material previously analyzed, but also as a study case on my own feminist curatorial experience. All this subtracts that feminist cultural management is about visualizing artistic proposals that shows other ways of understanding gender identities and sexualities, besides the problems arising from the mechanisms of patriarchal oppression. This curatorial practice seeks to be plural and multidisciplinary, and on the other hand generating channels open for discussion to enrich the practice and thought from the feminisms.[ES] RESUMEN TESIS EN CASTELLANO LAS PRÁCTICAS CURATORIALES FEMINISTAS EN EL ESTADO ESPAÑOL (1993-2013). LA GESTIÓN CULTURAL COMO PRODUCTORA DEL DISCURSO DE LAS IDENTIDADES DE GÉNERO Esta Tesis Doctoral surge de la intención de profundizar en el contexto específico del arte feminista español, que presenta ciertas diferencias con el ámbito europeo y estadounidense. Esta investigación se ocupa del arte y la teoría del arte feminista desarrollados en el ámbito del Estado Español desde finales de los ochenta hasta la actualidad, centrándose en cómo las exposiciones en torno a las cuestiones de género han ido construyendo y estructurando el discurso teórico y visual feminista. Se ha valorado cómo una exposición legitima un discurso artístico, tanto visual como teóricamente, e incluso cómo éste llega a institucionalizarse. Nos interesaba valorar cómo la teoría y práctica del arte feminista foráneo ha influido notablemente en su desarrollo e implantación, y a su vez, identificar cuáles han sido las aportaciones de la producción cultural feminista española al debate internacional. Es por ello que el objetivo fundamental de este estudio es contribuir a la (re)construcción de una genealogía feminista propia en relación a las artes visuales. Por lo tanto, en este análisis se han expuesto las diversas tendencias teóricas, críticas, historiográficas y estéticas de la producción cultural feminista realizada en el Estado Español. Debido a las singularidades socio-políticas de este contexto, conviven la tendencia esencialista, que revaloriza la identidad femenina -como si de un continuum cultural se tratase- junto con una línea construccionista, que entiende el género como una construcción socio-cultural, entreverada con la perspectiva queer, que revisa la sexualidad y las mascaradas performativas de la feminidad y de la masculinidad. La primera parte se ocupa de las estrategias artísticas de los feminismos a nivel internacional a modo de introducción al tema, así como se reseñan las principales exposiciones realizadas en el extranjero. Por otro lado se realiza una aproximación al contexto social, político y cultural del Estado Español en relación al arte vinculado a cuestiones de género, así como un recorrido por la evolución del movimiento feminista español. La segunda parte se centra en las exposiciones realizadas con temática de género en el Estado Español desde 1993, cuando comienzan a plantearse exposiciones verdaderamente feministas. No obstante, desde los noventa las denominadas 'exposiciones de mujeres' proliferan, desarrollando con mejor o peor criterio curatorial cuestiones relativas a mujeres artistas. Por lo tanto, también nos interesaba evaluar el posible interés y la repercusión de este tipo de exposiciones surgidas como una herramienta de la política cultural del feminismo institucional. Finalmente, en la tercera parte se ha reflexionado acerca de las particularidades propias de la gestión cultural feminista, en base al material previamente analizado, y también tomando como caso de estudio mi propia experiencia curatorial feminista. De todo ello se substrae que la gestión cultural feminista trata de visibilizar propuestas artísticas que muestran otros modos de entender las identidades de género y las sexualidades, así como las problemática derivadas de los mecanismos de opresión patriarcal. Esta práctica curatorial busca ser plural y multidisciplinar, además de generar canales abiertos de debate para el enriquecimiento de la práctica y del pensamiento feminista.
[CAT] LES PRÀCTIQUES CURATORIALS FEMINISTES A L'ESTAT ESPANYOL (1993-2013). LA GESTIÓ CULTURAL COM PRODUCTORA DEL DISCURS DE LES IDENTITATS DE GÈNERE. Aquesta Tesi Doctoral sorgeix de la intenció d'aprofundir en el context específic de l'art feminista espanyol, que presenta certes diferències amb l'àmbit europeu i nord-americà. Aquesta investigació s'ocupa de les pràctiques artístiques i dels discursos teòrics de l'art feminista desenrotllats en l'àmbit de l'Estat Espanyol des dels finals dels huitanta fins a l'actualitat, centrant-se en com les exposicions entorn de les qüestions de gènere han anat construint i estructurant el discurs teòric i visual feminista. S'ha valorat com una exposició legitima un discurs artístic, tant visualment com teòricament, i fins i tot com este arriba a institucionalitzar-se. Ens interessava valorar com la teoria i pràctica de l'art feminista fora d'Espanya ha influït notablement en el seu desenrotllament i implantació, i al mateix temps, identificar quins han sigut les aportacions de la producció cultural feminista espanyola al debat internacional. És per això que l'objectiu fonamental d'este estudi és contribuir a la reconstrucció d'una genealogia feminista pròpia en relació a les arts visuals. Per tant, per a realitzar aquesta tasca s'ha emprat la metodologia de la Història de l'Art, els Estudis Culturals i la Teoria Feminista. A causa de les singularitats sociopolítiques del context espanyol conviuen la tendència essencialista, que revalora la identitat femenina des de la diferència, junt amb una línia construccionista, que entén el gènere com una construcció sociocultural, lligada amb la perspectiva queer, que reivindica altres cossos i altres sexualitats no normatius, mentres revisa les mascarades performatives de la feminitat i de la masculinitat. La primera part s'ocupa de les estratègies artístiques dels feminismes a nivell internacional, a manera d'introducció al tema, i es ressenyen les principals exposicions realitzades en l'estranger, d'altra banda es realitza una aproximació al context social, polític i cultural de l'Estat Espanyol en relació a l'art vinculat a qüestions de gènere, al mateix temps que s'inclou un recorregut per l'evolució del moviment feminista espanyol. La segona part es basa en les exposicions realitzades amb temàtica de gènere en l'Estat Espanyol des de 1993, quan comencen a plantejar-se des de posicionaments verdaderament feministes. No obstant això, des dels noranta les denominades 'exposicions de dones' proliferen, desenrotllant amb millor o pitjor criteri curadorial qüestions relatives a les dones artistes. Per tant, també ens interessava avaluar el possible interès i la repercussió d'este tipus d'exposicions sorgides com una eina de la política cultural del feminisme institucional. Per concloure, en la tercera part s'ha reflexionat sobre les particularitats pròpies de la gestió cultural feminista, basant-se en el material prèviament analitzat, però també prenent com a cas d'estudi la meua pròpia experiència curadorial feminista. De tot això se sostrau que la gestió cultural feminista tracta de visibilitzar propostes artístiques que mostren altres maneres d'entendre les identitats de gènere i les sexualitats, així com les problemàtiques derivades dels mecanismes d'opressió patriarcal. Esta pràctica curadorial busca ser plural i multidisciplinar, a més de generar canals oberts de debat per a l'enriquiment de la praxi i el pensament des dels feminismes.
Caramés Sales, Á. (2016). Las prácticas curatoriales feministas en el Estado Español (1993-2013). La gestión cultural como productora del discurso de las identidades de género [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/62863
TESIS
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Karlsson, Matilda. « Vera Nilsson : konstnär, kvinna och mor ». Thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-125551.
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Uppsatsen undersöker Vera Nilssons liv och konstnärskaputifrån hennes sociala position som kvinna och ensamstående mor. Nilsson föddes 1888 och debuterade som konstnär 1917. 1921 föder hon dottern Catharina, även kallad Ginga. Under en fjortonårsperiod avporträtteras dottern frekvent och Nilssons barnporträtt får stor uppmärksamhet. Studien har en historigrafisk ansats och undersöker kvinnors villkor inom det konstnärliga fältet.The thesis examines Vera Nilsson's life and artistry from her social position as a woman and single mother. Nilsson was born 1888 and debutated as an artist 1917. 1924 she gives bearth to her daughter Catharina, also called Ginga. During a period of fourteen years the daughter is often seen in her work and Nilsson's portraits of children gets a lot of attention.The study has an historiographical approach and investigates women's condition within the artistic field.
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Duarte, Luiz Henrique. « O medo na ginástica artística feminina : estudo com atletas da categoria pré-infantil ». Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/39/39133/tde-11082008-094956/.
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O ambiente esportivo apresenta diversas situações em que o medo se manifesta de acordo com estímulos específicos, podendo variar muito entre cada indivíduo. A Ginástica Artística (GA) é uma modalidade esportiva na qual há certo risco iminente constante. A manifestação do medo pode gerar como conseqüência a diminuição da auto-estima, o desconforto ou a vergonha diante dos colegas, o comprometimento da integridade física, a dificuldade no aprendizado de novos exercícios e até o abandono, nos casos extremos. Assim, as respostas a essas situações devem receber a devida atenção desde o início da prática na modalidade, para que os atletas consigam conviver e até superar a manifestação dessa emoção tão complexa. A partir de entrevistas com ginastas femininas da categoria pré-infantil, a presente pesquisa investigou a manifestação do comportamento do medo na GA. Foram identificadas as principais situações causadoras do medo nestas ginastas, dentre elas o medo da lesão, de errar, do desconhecido e do técnico. Além do mais, foram observadas quais as estratégias ingênuas utilizadas por estas ginastas, na tentativa de controle do medo, Por fim, foram constatadas as percepções das ginastas sobre as atitudes de seus técnicos, pais e colegas ao se depararem com a manifestação de seus medos. Assim, a finalidade da presente pesquisa vem a ser acrescentar informações deste contexto específico, em consideração à manifestação do medo e suas implicações para ginastas, técnicos e paisThe sport environment presents many situations were fears emerge from specific stimuli, which may vary according to the individual. Artistic Gymnastics (AG) is a sport that involves a constant risk. The manifestation of fear brings, consequently and among other things, low self-esteem, discomfort or shame before colleagues, physical integrity risk, learning difficulties and even drop-out. Consequently, the outcomes to these situations demands attention since the first steps on AG. Interviewing first level competitive gymnasts, this research investigates the fear behavior in AG. The main starter situations of fear were identified, like fear of injury, fear of making errors, fear of the unknown, and fear of the coach. Furthermore, the naive strategies, commonly used by gymnasts in order to cope with fear the gymnasts\' perceptions of their coaches, parents and peers attitudes in the face of their fears were observed. Thus, the purpose of this study was to improve understanding of this specific context with regards to fear and its effects over gymnasts parents and coaches
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Poole, Tanya Katherine. « An exploration of female physicality and psyche and how these inform art-making ». Thesis, Rhodes University, 2000. http://hdl.handle.net/10962/d1002215.
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This thesis proposes that female physicality informs the psyche and thus in turn, art-making. My argument will be shown to be apposite and informative to the discussion of the work of Paula Rego, Jenny Saville and Cindy Sherman. Furthermore such an understanding is helpful to a reading of my practice. In examining issues of identity, which contribute to the formulation of a distinctly female psyche, I will base my critique on the philosophical positions of Sartre, de Beauvoir and Paglia.
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Lima, Letícia Bartholomeu de Queiroz. « Representatividade da ginástica artística feminina paulista no cenário brasileiro (2011-2014) / ». Rio Claro, 2016. http://hdl.handle.net/11449/137828.
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Orientadora: Laurita Marconi SchiavonBanca: Marco Antonio Coelho Bortoleto
Banca: Myrian Nunomura
Resumo: A Ginástica Artística brasileira, nos últimos quinze anos, apresentou importantes conquistas no cenário internacional. A região Sudeste do Brasil, região mais populosa e com maior relevância econômica do País, possui a Federação com maior número de entidades filiadas das federações estaduais de Ginástica brasileiras, a Federação Paulista de Ginástica (FPG). Nessa Região, o estado de São Paulo destaca-se pela numerosa população, pela maior representatividade econômica do país, além de ser o estado que mais investiu no esporte nos últimos dez anos. Porém, na Ginástica Artística Feminina, apenas 13,33% das representantes brasileiras em Jogos Olímpicos (até 2012) pertenciam a instituições paulistas, situação que demonstra certa dificuldade desse estado na condução de suas ginastas para a etapa de resultados superiores na preparação esportiva de muitos anos. Nesse contexto, a presente pesquisa descritiva teve como objetivo analisar a representatividade da Ginástica Artística Feminina paulista, sobretudo da Região Metropolitana de São Paulo, no contexto brasileiro da modalidade, por meio de uma análise documental. Para tanto, foram analisados documentos referentes a essa modalidade dos últimos quatro anos de Campeonatos Brasileiros, Campeonatos Estaduais Paulistas, Jogos Abertos e Regionais do interior do estado de São Paulo, além dos atletas contemplados com o programa Bolsa Atleta nos últimos dez anos. Os resultados apontaram que a Região Metropolitana de São Paulo mostrou-se relevante para a modalidade no País, sobretudo na formação de ginastas, com destaque para as categorias de base da Ginástica Artística Feminina. As ginastas paulistas estão sempre presentes nas seleções nacionais para Jogos Olímpicos e Campeonatos Mundiais, no entanto, não representam instituições da Região Metropolitana de ... (Resumo completo clicar acesso eletrônico abaixo)
Abstract: In the last fifteen years, Brazilian artistic gymnastics showed significant international achievements. Brazil's southeast, the most populous region and with the greater economic relevance of the country, has the Federation with the highest number of affiliated entities from Brazilian gymnastics state federations, the São Paulo state gymnastics federation. At this region, the state of São Paulo stands out for large population, the most economic representation of the country as well as being the state that most invested in sport in the last ten years. However, in Women's Artistic Gymnastics, only 13,33% of Brazilian representatives at Olympic Games (until 2012) belonged to São Paulo institutions. That situation shows some difficulty of this state in leading their gymnasts to a superior results level. In that way, the present descriptive research aimed through a documentary analysis to analyze the representativeness of São Paulo state's Women's Artistic Gymnastics, mainly the Metropolitan Region of São Paulo, in Brazilian context. Thereby, documents concerning this sport for the last four years of Brazilian Championships, State of São Paulo Championships, Open and Regional games of São Paulo besides athletes covered with national sports scholarship over the last decade were analyzed. The results show that the Metropolitan Region of São Paulo proved relevant to the sport in the country especially in gymnastics formation, highlight for Women's Artistic Gymnastics youth teams. São Paulo state's gymnasts are always present in national teams to Olympic Games and World Championships, however they no more represent institutions of this state where they started the sport, with a clear evasion to other states/institutions
Mestre
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Lauritis, Beth Anne. « Lucy Lippard and the provisional exhibition intersections of conceptual art and feminism, 1970-1980 / ». Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1925733141&sid=11&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Nicol, Jennifer. « Escape artists : adventure and isolation in women's writing at the fin de siècle ». Thesis, Loughborough University, 2017. https://dspace.lboro.ac.uk/2134/25494.
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Recent scholarship has examined the lived experience of unmarried women in nineteenth- and twentieth-century Britain, both in cities and in the countryside. Typically, scholarship in this field has focussed on women's social identity whether spinster, widow or lesbian and addressed how these types of women were variously used in fiction and the press to contest or uphold the gendered status quo. This thesis problematises the distinct characterisation of these social identities by examining works which seek to unify female social identity at the fin de siècle through a common modern experience: the conflict between individual and collective life. All of the female subjects examined in this thesis whether author, artist, or fictional character, and whether married, separated, unmarried, widowed, homosexual, or not easily identifiable either way are solitary figures. Their movement within and interaction with their environments reveal the uneasy combination of separation and exposure experienced by working women of all classes at the fin de siècle. This thesis examines the solitary female figure in works of British fiction produced between 1880 and 1922. It considers the pressures and implications of separation and exposure in relation to female celebrity and creative practices at the fin de siècle. My methodology involves examining the biography and auto/biographical works of Amy Levy (1861-1889), George Egerton (pseud. of Mary Chavelita Dunne Bright; 1859-1945), Sarah Grand (pseud. of Frances Elizabeth Bellenden McFall; 1854-1943) and Charlotte Mew (1869-1923), and drawing out aspects that speak to the desires for privacy and, conversely, publicity and/or companionship. I identify how their lived experience of this conflict broadly, between society and solitude affected the depiction of modern female consciousness in their literary works by examining their female characters subjective interaction with three environments: the foreign landscape, the home, and the city. My aim is to identify how Levy, Egerton, Grand and Mew used their literary works to acknowledge and retaliate against the restrictions which continued to limit urban women's physical, social and psychological autonomy.
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Triisberg, Airi. « The Workers of Society – the Artist, the Housewife and the Nun : A Feminist Marxist Analysis on the Intersections of Art, Care Work and Social Struggles ». Thesis, Linköpings universitet, Tema Genus, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-113403.
Texte intégralRésumé :
What do art workers, nuns and care workers have in common? How can these commonalities be conceptualised from the perspective of feminist Marxism? How would such conceptualisation open up intersectional and transversal perspectives for social movements struggling against precariousness? Departing from an auto-ethnographic account on activist experiences originating from the art workers’ movement in Tallinn, this thesis aims to theorise the intersection of precarious labour and gender. By using the thinking technology of diffractive reading, it places the debates around unwaged labour within art and care sector into the context of autonomist Marxist thinking. Furthermore, affinities and entanglements between feminist politics and the struggles of precarious workers are configured and imagined, in order to interlink and converge spatially and temporally isolated resistive practices that are constructed from the experience of unwaged and precarious workers.
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Filho, Raul Alves Ferreira. « Estudo sobre a estatura de ginastas na ginástica artística feminina de alto nível no Brasil ». Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/39/39132/tde-12122007-151929/.
Texte intégralRésumé :
A estatura é um dos atributos físicos de grande destaque para o homem e para a mulher e, dependendo do meio ou da cultura, é valorizada de diferentes formas. Quando se faz referência ao esporte e a atletas de alto nível, a primeira imagem que nos vem à mente é a de uma figura alta e forte. No entanto, na Ginástica Artística (GA), especialmente no setor feminino, a maioria das ?grandes? campeãs apresenta uma característica em comum: a estatura baixa. No Brasil, a população em geral acredita que o fato se deve ao treinamento intensivo da modalidade. Conseqüentemente, pais chegam a proibir que as filhas pratiquem a modalidade preocupados com o comprometimento da estatura adulta. Até o momento, os estudos científicos realizados têm demonstrado que os aspectos biomecânicos, a rigorosa seleção natural e, principalmente, fatores hereditários provavelmente sejam os maiores responsáveis pela estatura baixa das ginastas. No entanto, a maioria desses estudos são realizados com atletas pré-púberes e adolescentes que estão em plena fase de crescimento. A falta de estudos conclusivos e especialmente relacionados à fase adulta das ginastas, mesmo no contexto internacional, contribui para a perpetuação do mito da estatura baixa na GA em alguns países como o Brasil. Assim, é preciso conduzir estudos específicos e em maior profundidade a fim de verificar se há ou não comprometimento da estatura final da ginasta de alto nível na fase adulta devido ao treinamento. Estudos que relacionem o crescimento estatural com ênfase na fase adulta da atleta de GA ainda não foram encontrados na nossa literatura. Além de raros, inclusive no contexto internacional, essas pesquisas são necessárias para esclarecer dúvidas e levantar evidências que possam justificar ou quebrar o mito relacionado à modalidade. O objetivo da nossa pesquisa foi levantar dados referentes à estatura de ex-ginastas e ginastas adultas de alto nível no Brasil, para verificar possíveis evidências de que o potencial hereditário estabelecido para estatura adulta tenha sido prejudicado devido ao treinamento de alto nível na Ginástica Artística. Utilizou-se o método quantitativo para comparação dos dados familiares referentes à estatura e maturação de 45 ex-ginastas e 06 ginastas em atividade com idade mínima de 18 anos. Os nossos resultados demonstraram que a estatura da ginasta de alto nível no Brasil está dentro da normalidade de acordo com os órgãos oficiais que estabelecem os referenciais para estatura em cada faixa etária. Evidenciaram também estreita relação entre a estatura média dos pais e a estatura final das ginastas, fator também observado na comparação entre as ginastas e respectivas irmãs, indicando que, aparentemente, o potencial genético ou fator hereditário estabelecido para a estatura não foi prejudicado em decorrência do treinamento de alto nível na Ginástica ArtísticaThe stature is one of the physical attributes of great prominence for the man and for the woman and depending on the means or the culture it is valued in different ways. When reference is done to the sport and athletes of high level the first image that it comes to mind is of one that is tall and strong. However, in the artistic gymnastics (GA), especially in the feminine section, most of the \"great\" champions present a characteristic in common: the low stature. In Brazil, the population, in general believes, that the fact is due to the intensive training of the modality. Consequently, parents even prohibit their daughters to practice the modality worried about the compromising of the adult stature. Until the moment, the accomplished scientific studies have demonstrated that the aspects biomechanics, the rigorous natural selection and, mainly, hereditary factors are probably the largest responsible for the low stature of the gymnasts. However, most of these studies are accomplished with prepubescent and adolescent athletes that are in the middle of the growth phase. The lack of conclusive studies and especially related to the adult phase of the gymnasts, even in the international context, they contribute to the perpetuation of the myth of the low stature in GA in some countries, as Brazil. So, it is necessary to drive specific studies in larger depth in order to verify if there is or not compromising in the final stature of the gymnast of high level in the adult phase due to the training. Studies which are related to height growth with emphasis in the athletes of GA adult phase still were not found in our literature. Besides being rare, also in the international context, these studies are necessary to explain doubts and evidences that can justify to raise or to break the myth related to the modality. The objective of our research was to lift data regarding the stature of former-gymnasts and adult gymnasts of high level in Brazil, to verify possible evidences that the established hereditary potential for adult stature has been harmed due to the training of high level in the Artistic Gymnastics. The quantitative method was used for comparison of the family data regarding the stature and maturation of 45 former-gymnasts and 06 gymnasts in activity with minimum age 18 years old. Our results demonstrated that the stature of the gymnast of high level in Brazil is in the normality in accordance with the official organs which establish the reference for stature in each age group. It was also evidenced the narrow relationship between the parents medium stature and the final stature of the gymnasts, fact also observed in the stature in comparison with the gymnasts and respective sisters, indicating that seemingly, the genetic potential or established hereditary factor for the stature were not harmed due to the training of high level in the artistic gymnastics