Cultural: Looking and Being Looked At, Seeing and Being Seen: Psychoanalytic Considerations of the Gaze in Works of Some Contemporary Women Artists

1997 ◽  
Author(s):  
Maureen Murphy ◽  
Keyword(s):  
Women Artists ◽  
The Gaze

scholarly journals Art Criticism and the State of Feminist Art Criticism

Arts ◽  
2020 ◽  
Vol 9 (1) ◽  
pp. 28
Author(s):  
Katy Deepwell
Keyword(s):  
Women Artists ◽  
Art Criticism ◽  
The State ◽  
Art World ◽  
Feminist Art ◽  
The Gaze ◽  
The Third ◽  
Fourth Part ◽  
State Of Art ◽  
First Offers

This essay is in four parts. The first offers a critique of James Elkins and Michael Newman’s book The State of Art Criticism (Routledge, 2008) for what it tells us about art criticism in academia and journalism and feminism; the second considers how a gendered analysis measures the “state” of art and art criticism as a feminist intervention; and the third, how neo-liberal mis-readings of Linda Nochlin and Laura Mulvey in the art world represent feminism in ideas about “greatness” and the “gaze”, whilst avoiding feminist arguments about women artists or their work, particularly on “motherhood”. In the fourth part, against the limits of the first three, the state of feminist art criticism across the last fifty years is reconsidered by highlighting the plurality of feminisms in transnational, transgenerational and progressive alliances.

Gaze behavior of pre-adolescent children afflicted with Asperger Syndrome

2013 ◽  
Vol 9 (2) ◽  
pp. 173-186 ◽  
Author(s):  
Mari Wiklund
Keyword(s):  
Asperger Syndrome ◽  
Conversation Analysis ◽  
High Functioning Autism ◽  
Eye Contact ◽  
Nonverbal Behaviors ◽  
Gaze Behavior ◽  
High Functioning ◽  
The Gaze ◽  
In The Beginning ◽  
Straight Ahead

Asperger syndrome (AS) is a form of high-functioning autism characterized by qualitative impairment in social interaction. People afflicted with AS typically have abnormal nonverbal behaviors which are often manifested by avoiding eye contact. Gaze constitutes an important interactional resource, and an AS person’s tendency to avoid eye contact may affect the fluidity of conversations and cause misunderstandings. For this reason, it is important to know the precise ways in which this avoidance is done, and in what ways it affects the interaction. The objective of this article is to describe the gaze behavior of preadolescent AS children in institutional multiparty conversations. Methodologically, the study is based on conversation analysis and a multimodal study of interaction. The findings show that three main patterns are used for avoiding eye contact: 1) fixing one’s gaze straight ahead; 2) letting one’s gaze wander around; and 3) looking at one’s own hands when speaking. The informants of this study do not look at the interlocutors at all in the beginning or the middle of their turn. However, sometimes they turn to look at the interlocutors at the end of their turn. This proves that these children are able to use gaze as a source of feedback. When listening, looking at the speaker also seems to be easier for them than looking at the listeners when speaking.

Zofia Kulik. The Splendor of Myself

2019 ◽  
Author(s):  
Agata Jakubowska
Keyword(s):  
Women Artists ◽  
The Self ◽  
Self Image ◽  
Physical Presence

Narratives about women artists usually point to the obstacles they face in the development of their artistic careers. In her article, the author proposes an analysis that concentrates on how a woman artist – Zofia Kulik – presented herself as the heroine of a successful story of emancipation in the series of works titled The Splendor of Myself (1997, 2015, 2017). The self-image she presents is paradoxical: we deal with both her ostentatious presence and her absence as her physical presence is hidden behind the gorgeous but extremely stiff dress. It corresponds with Kulik’s understanding of her success as directly related with the wealth of images and the mastery of composition.

MULHERES ARTISTAS URBANAS: OPERAÇÕES DE RESISTÊNCIA COMO POÉTICA DE DIPNOICO / Urban women artists: resistance operations as poetic of dipnoic

2020 ◽  
Vol 26 (40) ◽  
pp. 17-29
Author(s):  
Jo A-mi
Keyword(s):  
Women Artists ◽  
Urban Women ◽  
Research Process

Neste artigo, lançarei mão do conceito de Resistência como uma rede de insurreições problematizada por mulheres artistas urbanas da cena de Fortaleza-CE. A categoria Resistência tornou-se uma borda temática apre(e)ndida a partir de narrativas dessas artistas (protagonistas de ações que passei a chamar de poéticas de dipnoico) durante processo de pesquisa que vem dialogando com discussões tecidas por Suely Rolnik (2018).Palavras-chave: Mulheres; Resistência; Insurreição; Narrativas; Poéticas.AbstractIn this article, I will use the concept of Resistance as a network of insurgencies problematized by women urban artists from the Fortaleza-CE scene. The Resistance category became a thematic differential learned and apprehended  from the narratives of these artists (protagonists of actions that I started to call dipnoic poetics) during a research process that has been dialoguing with discussions made by Suely Rolnik (2018).Keywords: Women; Resistance; Insurrection; Narratives; Poetic.

Flâneur or Choraster: A Review of the Travel Narrator In the Formation of the Tourist Experience

2019 ◽  
Vol 24 (4) ◽  
pp. 551-562
Author(s):  
Stephen Wearing ◽  
Stephen Schweinsberg ◽  
Patricia Johnson
Keyword(s):  
Present Article ◽  
Review Article ◽  
Media Representations ◽  
The Gaze ◽  
The People ◽  
Tourist Experience

Media representations of destinations play a powerful role in tourism appeal. The narrator assumes a role infused with knowledge and power, employing discourse to describe and interpret places and people to entice armchair audiences to not only travel vicariously alongside them, but to follow in their footsteps. This review article uses the English actor and writer Michael Palin to examine this phenomenon through the lens of the flâneur and choraster. Palin's travels have traditionally been viewed based on their ability to create space from the perspective of a representational voice of authority. In the present article, we wish to ask whether the power of the travel narrator for tourism is perhaps better expressed in their ability to develop a counter (or chora discourse), one where we are able to see space as locally contested. Palin's narrator expresses appreciation of his reliance on the people (chora) that inhabit the spaces he visits. His narrations of travel evidence how the flâneur perspective is influenced (and/or disrupted) by a chora in two ways—that which influences the perspective before travel and directs the gaze, and those that occupy and inscribe meaning on the spaces that are traveled to, that influences and/or forms experience.

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