Possession and Dispossession

2019 ◽  
pp. 291-320
Author(s):  
Manon Hedenborg White
Keyword(s):  
Male Gaze ◽  
Heterosexual Male ◽  
Physical Modification ◽  
High Heels ◽  
Written Descriptions ◽  
Feminine Body

This chapter analyzes how bodily technologies are used to materialize a “Babalonian” body in written descriptions of rituals centered around Babalon. In several rituals, female esotericists utilize “technologies of femininity” (e.g., high heels, lingerie, makeup) to embody Babalon, whereas one male esotericist succumbs to ritual scarification in devotion to the goddess, explicitly describing this as analogous to feminine technologies. While feminist theorization has frequently referred to investment in feminine adornment and physical modification as trivial, subordinating, and restrictive, I stress that technology is implicated in all materializations of gender as well as ritual. Thus, I contend that the esotericists’ use of feminine technologies should be acknowledged as ritual techniques used by agential religious practitioners, while also producing a feminine body that is open, vulnerable, and partly restrained. Thus, the rituals discussed produce femininities that are neither exclusively determined by, nor completely independent of, the (heterosexual) male gaze.

scholarly journals Wysokie obcasy i konstrukcje tożsamości kobiet. Dynamika asymetrii płciowej, seksualności i emancypacji

2019 ◽  
pp. 61-86
Author(s):  
Agnieszka Gromkowska-Melosik
Keyword(s):  
Feminine Identity ◽  
The Third ◽  
Main Thesis ◽  
The Feminine ◽  
High Heels ◽  
Women's Emancipation ◽  
Feminine Body

The article is devoted to the role of high heels in the construction of feminine identity. The various contexts of the main problem are analysed. The first one refers to the use of high heels as a confirmation of men’s domination over the feminine body, and identity. The second one is connected with sexual connotations of high heels. And the third one with the paradoxical use of the high heels as a source of women’s emancipation. The main thesis of the article is based on the assumption that every, even smallest feminine (or masculine) thing is involved into contradictory values and practical consequences.

scholarly journals Razza cagna:mondomovies, the white heterosexual male gaze, and the 1960s–1970s imaginary of the nation

Modern Italy ◽  
2018 ◽  
Vol 23 (4) ◽  
pp. 429-444 ◽  
Author(s):  
Gaia Giuliani
Keyword(s):  
Historical Context ◽  
Male Gaze ◽  
Imagined Community ◽  
White Masculinity ◽  
Gender And Race ◽  
Heterosexual Male ◽  
The 1960S

This article investigates the role, reception, and socio-cultural, political relevance ofmondomovies in the context of late 1950s–early 1980s film and documentary. Themondogenre debuted with reportage films about sexuality in Europe and reached its pinnacle with Gualtiero Jacopetti’s assemblage films. The historical context in which this genre evolved, and white masculinity was rearticulated and positioned at the centre of the national imagined community, is mapped focusing both on gender and race constructions and on thegazeidentifying, encoding and decoding the sensationalist presentation of postcolonial/ decolonising Otherness. A brief review of some of the author’s published work on 1962–1971mondomovies introducesCannibal Holocaust(1979) and director Ruggero Deodato’s controversial reflection on the white, capitalist, sexist, Western and neo-colonial anthropological gaze.

Heterosexual male versus female partner response to romantic partner being insulted

2013 ◽  
Author(s):  
Melanie Maceacheron ◽  
Lorne Campbell ◽  
Svenja Straehle ◽  
Sarah C. E. Stanton
Keyword(s):  
Romantic Partner ◽  
Female Partner ◽  
Heterosexual Male

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.

: High Heels . Pedro Almodovar, Agustin Almodovar.

1992 ◽  
Vol 45 (3) ◽  
pp. 39-44 ◽  
Author(s):  
Marsha Kinder
Keyword(s):  
Pedro Almodovar ◽  
High Heels

High Heels sebagai Agensi bagi Tubuh Wanita

2020 ◽  
Vol 5 (2) ◽  
pp. 196
Author(s):  
Sunandar Macpal ◽  
Fathianabilla Azhar
Keyword(s):  
Body Image ◽  
Literature Review ◽  
The Body ◽  
The Other ◽  
Body Image Disturbance ◽  
Other Hand ◽  
High Heels ◽  
Experience Pain ◽  
Woman's Body

The aims of this paper is to explain the use of high heels as an agency for a woman's body. Agency context refers to pain in the body but pain is perceived as something positive. In this paper, the method used is a literature review by reviewing writings related to the use of high heels. The findings in this paper that women experience body image disturbance or anxiety because they feel themselves are not beautiful or not attractive. The use of high heels, makes women more attractive and more confident, on the other hand the use of high heels actually makes women feel pain and discomfort. However, for the achievement of beauty standards, women voluntarily allow their bodies to experience pain. However, the agency's willingness to beauty standards here is meaningless without filtering and directly accepted. Instead women keep negotiating with themselves so as to make a decision why use high heels.

Foucault, Rape, and the Construction of the Feminine Body

Hypatia ◽  
2000 ◽  
Vol 15 (1) ◽  
pp. 43-63
Author(s):  
Ann J. Cahill
Keyword(s):  
The Feminine ◽  
Feminine Body

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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