Babes and the Woods: Women's Objectification and the Feminine Beauty Ideal as Ecological Hazards

Ecopsychology ◽  
2010 ◽  
Vol 2 (3) ◽  
pp. 147-158 ◽  
Author(s):  
Britain A. Scott
2003 ◽  
Vol 17 (5) ◽  
pp. 711-726 ◽  
Author(s):  
Lori Baker-Sperry ◽  
Liz Grauerholz

2016 ◽  
Vol 39 (2) ◽  
pp. 145-158 ◽  
Author(s):  
Christiana Tsaousi

The aim of this article is to highlight the attention given by recent makeover shows, and specifically How to Look Good Naked, to the ‘underneath’ as a way of (re)organising the female body. I examine whether this ‘turn’ or change in media’s direction is an appreciation of the real female body (an unmodified body) or whether this is a mere (re-)organisation of the body into a controllable base of overall appearance and a further embedding of Western conceptions of beauty and of the notion that the manipulation of appearance is essential to the construction of the feminine identity and to the measure of women’s social worth. Informed by postfeminist discourse and critique, I analyse the British reality makeover television show How to Look Good Naked, discuss the extent to which it actually provides an alternative to prevailing cultural discourses around feminine beauty and scrutinise the impact that it seems to have on the identities of the women who participate. I analyse how the show, as the ultimate postfeminist show, inscribes gendered identities and practices, and I examine how postfeminism has created spaces for such shows to exist and affirm hegemonic gender constructions based on consumption practices.


2007 ◽  
Vol 24 (2) ◽  
pp. 53-65
Author(s):  
Kathy Davis

Cosmetic surgery emerged at the end of the 19th century in the U.S. and Europe. Like most branches of surgery, it is a ‘masculine’ medical specialty, both numerically and in terms of professional ‘ethos’. Given the role cosmetic surgery – and, more generally, the feminine beauty system – play in the disciplining and inferiorization of women's bodies, a feminist cosmetic surgeon would seem to be a contradiction in terms. It is hard to imagine how cosmetic surgery might be practiced in a way which is not, by definition, disempowering or demeaning to women. In this paper, I explore the unlikely combination of feminist cosmetic surgeon, using one of the pioneers of cosmetic surgery, Dr. Suzanne Noël, as an example. She was the first and most famous woman to practice cosmetic surgery, working in France at the beginning of this century. She was also an active feminist. Based on an analysis of the handbook she wrote in 1926, La Chirurgie Esthétique, Son Rôle Social in which she describes her views about her profession, her techniques and procedures, and the results of her operations, I tackle the question of whether Noël's approach might be regarded as a ‘feminine’ or even feminist way of doing cosmetic surgery – in short, an instance of surgery in ‘a different voice’. “The primary requisite for a good surgeon is to be a man – a man of courage.” Edmund Andrews. (1861). The Surgeon. Chicago Medical Examiner “Surgery involves bodies – those of surgeons as well as of patients … What does it mean when the body of the surgeon – the intrusive gazer, the violator, the recipient of sensory assaults – is that of a woman?” Joan Cassell. (1998). The Surgeon in the Woman's Body


2013 ◽  
Vol 5 (1) ◽  
pp. 7-16
Author(s):  
Andreea Petre

Abstract The short-story The Girl from the Forest by Ioan Slavici emphasises, from a modern perspective, the encounter with the Other, represented here by the feminine character, Simina. The Girl from the Forest can be read as a drama of excessive beauty, taking into account the fact that, in Romanian literature, the beauty of the positive feminine character was a datum, harmonised with a matching character, until Slavici; with Simina from The Girl from the Forest, feminine beauty becomes, first of all, a source of selfconfedence, it confers self-awareness and helps the woman to overcome the traditional condition of a passive individual. A complex character, Simina transfigures her maternal vocation in an attempt to save the man she loves. This is the moment when the relationship with the Other (Man, Master, Father) reaches the point of conflict. Simina is a figure of otherness because, although all the characters belong to the same environment, the rural country, the economic and social status differences are obvious, and, in the encounters with the Other, the feminine character refuses to behave submissively; she is an active protagonist, who takes full responsibility for her desire to valorise her subjectivity.


2020 ◽  
Vol 3 (1) ◽  
pp. 38-44
Author(s):  
Tetiana Danylova

Introduction: It can be argued that beauty is not only an aesthetic value, but it is also a social capital which is supported by the global beauty industry. Advertising kindly offers all kinds of ways to acquire and maintain beauty and youth that require large investments. Recent studies demonstrate that physical attractiveness guided by modern sociocultural standards is associated with a higher level of psychological well-being, social ease, assertiveness, and confidence. What is behind this pursuit of ideal beauty and eternal youth: the life-long struggle for survival, selfless love for beauty, or something else that lurks in the depths of the human unconscious? Purpose: The aim of the paper is to analyze the modern-day feminine beauty ideal through the lens of Jungian archetypes. Methodology: An extensive literary review of relevant articles for the period 2000-2020 was performed using PubMed and Google databases, with the following key words: “Feminine beauty ideal, body image, beauty and youth, mental health problems, C.G. Jung, archetypes of collective unconsciousness”. Along with it, the author used Jung’s theory of archetypes, integrative anthropological approach, and hermeneutical methodology. Results and Discussion: Advertising and the beauty industry have a huge impact on women and their self-image. Exposure to visual media depicting idealized faces and bodies causes a negative or distorted self-image. The new globalized and homogenized beauty ideal emphasizes youth and slimness. Over the past few decades, the emphasis on this ideal has been accompanied by an increase in the level of dissatisfaction with their bodies among both women and men. Though face and body image concerns are not a mental health condition in themselves, they have a negative impact on women’s mental health being associated with body dysmorphic disorder, social anxiety disorder, obsessive-compulsive disorder, panic disorder, depression, eating disorders, psychological distress, low self-esteem, self-harm, suicidal feelings. These trends are of real concern. The interiorization of the modern standards of female beauty as the image of a young girl impedes the psychological development of women and causes disintegration disabling the interconnection of all elements of the psyche and giving rise to deep contradictions. This unattainable ideal is embodied in the Jungian archetype of the Kore. Without maturity transformations, the image of the Kore, which is so attractive to the modern world, indicates an undeveloped part of the personality. Her inability to grow up and become mature has dangerous consequences. Women “restrain their forward movement” becoming an ideal object of manipulation. Thus, they easily internalize someone’s ideas about what the world should be and about their “right” place in it losing the ability to think critically and giving away power over their lives. Conclusion: Overcoming the psychological threshold of growing up, achieving deep experience and inner growth, a woman discovers another aspect of the Kore, ceases to be an object of manipulation and accepts reality as it is, while her beauty becomes multifaceted and reflects all aspects of her true personality


Author(s):  
Lisa von Stockhausen ◽  
Sara Koeser ◽  
Sabine Sczesny

Past research has shown that the gender typicality of applicants’ faces affects leadership selection irrespective of a candidate’s gender: A masculine facial appearance is congruent with masculine-typed leadership roles, thus masculine-looking applicants are hired more certainly than feminine-looking ones. In the present study, we extended this line of research by investigating hiring decisions for both masculine- and feminine-typed professional roles. Furthermore, we used eye tracking to examine the visual exploration of applicants’ portraits. Our results indicate that masculine-looking applicants were favored for the masculine-typed role (leader) and feminine-looking applicants for the feminine-typed role (team member). Eye movement patterns showed that information about gender category and facial appearance was integrated during first fixations of the portraits. Hiring decisions, however, were not based on this initial analysis, but occurred at a second stage, when the portrait was viewed in the context of considering the applicant for a specific job.


1995 ◽  
Vol 40 (4) ◽  
pp. 329-330
Author(s):  
Clayton P. Alderfer

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