Cyberbabes: (Self-) representation of women and the virtual male gaze

1997 ◽  
Vol 14 (2) ◽  
pp. 189-204 ◽  
Author(s):  
Laura L Sullivan
Keyword(s):  
Male Gaze ◽  
Representation Of Women

scholarly journals Dysfunctional Gaze and the Representation(s) of Women in Nuala Ní Chonchúir’s “As I Look”

2019 ◽  
Vol 27 ◽  
pp. 247-258
Author(s):  
Máximo Aláez Corral
Keyword(s):  
Short Story ◽  
Female Body ◽  
Theoretical Framework ◽  
Male Gaze ◽  
Literary Representation ◽  
Representation Of Women ◽  
The Gaze

In this article I intend to analyse Nuala Ní Chonchúir’s short story “As I Look,” from her 2009 collection Nude, in relation to the concept of dysfunction, the representation of the nude female body, and the deconstruction of the conventional male gaze. My analysis will be backed up by a theoretical framework on objectification and will focus on dysfunction in the gaze and representation, and also in narration. I aim at highlighting dysfunction as an instrument to convey a new meaning around the visual/literary representation of women, a more positive and desirable connotation than the “functional” order of the visual norm.

scholarly journals Escaped from the Harem, Trapped in the Orient: An analysis of the multiple gazes in Nadine Labaki’s movie Where Do We Go Now?

1970 ◽  
pp. 87-92
Author(s):  
Anna Kokko
Keyword(s):  
Visual Culture ◽  
Sexual Desire ◽  
Male Gaze ◽  
Modern Times ◽  
Representation Of Women ◽  
The Gaze ◽  
Feminist Discourse ◽  
Broad Array

Throughout history, the majority of artists have been men, and quite often the women in their works have been featured as passive objects of male sexual desire. This sort of one-sided dynamic is ubiquitous; it can be detected in the vast majority of Western nude paintings, and even modern advertisements tend to conform to the same pattern (Berger, 1977). As a consequence, feminist discourse of the representation of women in visual culture has focused on the concept of male gaze. However, the proliferation of images in modern times has given rise to a “broad array of gazes and implied viewers” (Sturken, 2005, p. 87). Women are no longer simply objectified, nor is the business of directing the gaze relegated to solely a male domain.

scholarly journals Breaking the Spell of the Male Gaze in Selected Women's Ekphrastic Poems.

2019 ◽  
Vol 2 (37) ◽  
pp. 20
Author(s):  
Shaymaa Zuhair Al-Wattar
Keyword(s):  
Margaret Atwood ◽  
Women Poets ◽  
Male Gaze ◽  
Representation Of Women ◽  
Rita Dove ◽  
Word And Image ◽  
Carol Ann Duffy ◽  
Strong Position ◽  
Male Dominated ◽  
Hunting Ground

For centuries art and poetry have been inspiring each other and the relation between word and image constantly fascinates the poets. The literary world has given poems that tackle artwork the name: ekphrasis. Ekphrasis represents a rich hunting ground for references, allusions, and inspiration for poets. However, ekphrasis is powerfully gendered that privileged male gaze. Traditionally, the male is given the strong position as the gazer, while the woman is locked in her predetermined role that of the beautiful, silent, submissive, gazed upon.             Women poets refuse to adhere to the gendered ekphrastic tradition and the under-representation of women in ekphrastic poetry. They strongly challenged the ekphrasis tradition modifying it to create a distinctive feminist ekphrasis. Their poetry changes the male-dominated ekphrsis tradition that for centuries has pervaded the Western cultures. The work of the poets Louise Bogan,Carol Ann Duffy, Rita Dove, and Margaret Atwood is an excellent example of women's ekphrastic poetry that defies the tradition of patriarchal male gaze in an attempt to break the spell of the male gaze.

Boards of directors in Russian publicly traded companies: the gender aspect

2018 ◽  
pp. 142-155 ◽  
Author(s):  
T. A. Garanina ◽  
A. A. Muravyev
Keyword(s):  
Boards Of Directors ◽  
Company Performance ◽  
Corporate Boards ◽  
Publicly Traded ◽  
Publicly Traded Companies ◽  
Representation Of Women ◽  
Female Directors ◽  
Female Director ◽  
Gender Aspect ◽  
Longitudinal Dataset

This article studies the gender composition of corporate boards of Russian companies, including its relation to company performance. The analysis is based on a unique longitudinal dataset of virtually all Russian companies whose shares were traded on the stock market in 1998-2014. It shows a relatively small representation of women, just 12% of all the seats, while about 40% of the companies did not have any female director. At the same time, both the share of companies that appoint female directors and the share of female directors on boards show a clear upward trend. The econometric analysis suggests a positive link between the presence of female directors on boards and company performance, especially when firms appoint several, rather than one, female directors.

Taxi! The Modern Taxicab as Feminist Heterotopia

2014 ◽  
Vol 9 (2) ◽  
pp. 213-232
Author(s):  
Anne E. Fernald
Keyword(s):  
Virginia Woolf ◽  
Maximum Power ◽  
Male Gaze ◽  
Real Place ◽  
Critical Relation ◽  
Transitional Mode ◽  
Mode Of Transport ◽  
Woman's Body

The taxicab operated as a crucial transitional mode of transport for bourgeois women, allowing them maximum power as spectators when it was still brave for a woman to be a pedestrian. The writings of Virginia Woolf, which so often depict bourgeois women coping with modernity, form the chief context in which to explore the role of the taxicab in liberating the modern woman. The taxi itself, clumsy and ungendered, encases a woman's body and protects her from the male gaze. At the same time, a woman in a taxi can look out upon the street or freely ignore it. As such, the taxi is a type of heterotopia: a real place but one which functions outside of and in a critical relation to, the norms of the rest of the community.

Promoting gender equity in sport science

2020 ◽  
Keyword(s):  
Gender Equity ◽  
Good Practice ◽  
Quality Criteria ◽  
Gender Inequity ◽  
Sport Science ◽  
Representation Of Women ◽  
Exercise Medicine ◽  
Scientific Disciplines ◽  
Individual Ability ◽  
Scientific Awards

Gendered norms, stereotypes and biases implicitly influence our thoughts, attitudes and behaviours. These often lead to gender inequity, a phenomenon inherent in society and reflected in its various contexts. The increasing awareness of this inequity is leading to reflection and changes in society as a whole and its communities, organisations and institutions. In scientific disciplines, gender inequity has been, and still is, a point of discussion and consideration. In many cases, these discussions have led to positive and sustainable changes at both a structural as well as a policy level. This opinion piece discusses gender inequity in the context of sport science and, in particular, sport medicine in Switzerland. Specifically, academic position (professorships), first authorship of peer-reviewed publications in the SEMS-Journal as well as conference participation and scientific awards in two Swiss sport science organisations: Sportwissenschaftliche Gesellschaft der Schweiz (SGS) and Sport & Exercise Medicine Switzerland (SEMS) in terms of frequency are presented and discussed. An under-representation of women is observed in most categories. Finally, recommendations for promoting and supporting equity while maintaining an objective consideration of quality criteria and individual ability are put forward using examples of good practice.

Light and Sensitivity: Love in the Time of the Daguerreotype

2015 ◽  
Author(s):  
Katarzyna Czeczot
Keyword(s):  
Male Gaze ◽  
History Of Photography ◽  
Sensitive Material ◽  
History Of ◽  
The Subject ◽  
Definition Of ◽  
Relationship Of ◽  
Point Of Departure ◽  
Passive Object

The article deals with the love of Zygmunt Krasiński to Delfina Potocka. The point of departure is the poet's definition of love as looking and reads Krasiński's relationship with his beloved in the context of two phenomena that fascinated him at the time: daguerreotype and magnetism. The invention of the daguerreotype in which the history of photography and spiritism comes together becomes a pretext for the formulation of a new concept of love and the loving subject. In the era of painting the woman was treated as a passive object of the male gaze; photography reverses this scheme of power. Love ceases to be a static relationship of the subject in love and the passive object – the beloved. The philosophy of developing photographs (and invoking phantoms) allows Krasiński - the writing subject to become like a light-sensitive material that reveals the image of the beloved.

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