scholarly journals The Reincarnation of Animated Film

2017 ◽  
Vol 65 (4) ◽  
pp. 331-344
Author(s):  
Eva Šošková
Keyword(s):  
Performing Arts ◽  
Point Of View ◽  
The Body ◽  
Dominant Male ◽  
Narrative Art ◽  
Female Authors ◽  
Male Characters ◽  
Before And After ◽  
Animated Film ◽  
And Gender

Abstract Throughout its entire history, Slovak animated film has had the form of figurative narrative art or craft. For this reason, the author of this study examines its post-1989 development through the prism of the body. Since the most visible change that has affected contemporary film aesthetics is the feminization of animated film in terms of authorship, the study primarily focuses on the ability of an animated body to represent gender and gender roles. It attempts to capture the most significant changes in the depiction of the body in authorial animated film before and after 1989, in more detail record the post-revolution changes in the body, and relate this to the changes in the institutional background of animated film. Animated bodies have developed from “ordinary people” from a dominant male point of view in socio-critical socialist production through female characters in interaction with clearly distinguished male characters in the films of female authors from the Academy of Performing Arts, the crisis of stereotypical masculinity in the production of male authors to independent women looking for their own identity inside themselves, without relating themselves to their male counterparts.

Rewriting the Body: Aida Overton Walker and the Social Formation of Cakewalking

1996 ◽  
Vol 37 (2) ◽  
pp. 67-92 ◽  
Author(s):  
David Krasner
Keyword(s):  
New York ◽  
New York City ◽  
Performing Arts ◽  
West African ◽  
Turn Of The Century ◽  
The Body ◽  
Race And Gender ◽  
The Social ◽  
Anna Julia Cooper ◽  
And Gender

Although Aida Overton Walker (1880–1914) belonged to the same generation of turn-of-the-century African American performers as did Bob Cole, J. Rosamond Johnson, Bert Williams, and George Walker, she had a rather different view of how best to represent her race and gender in the performing arts. Walker taught white society in New York City how to do the Cakewalk, a celebratory dance with links to West African festival dance. In Walker's choreography of it, it was reconfigured with some ingenuity to accommodate race, gender, and class identities in an era in which all three were in flux. Her strategy depended on being flexible, on being able to make the transition from one cultural milieu to another, and on adjusting to new patterns of thinking. Walker had to elaborate her choreography as hybrid, merging her interpretation of cakewalking with the preconceptions of a white culture that became captivated by its form. To complicate matters, Walker's choreography developed during a particularly unstable and volatile period. As Anna Julia Cooper remarked in 1892.

scholarly journals THE BODY IN THE HISTORY OF WESTERN EUROPEAN AND RUSSIAN THEATRE: CULTURAL VARIABILITY OF SHAME

Articult ◽  
2021 ◽  
pp. 19-31
Author(s):  
Leila F. Salimova ◽  
◽  
Keyword(s):  
Scientific Knowledge ◽  
Performing Arts ◽  
Point Of View ◽  
The Body ◽  
Ethical Aspect ◽  
Close Relationship ◽  
History Of ◽  
The Spectator ◽  
The Aesthetic ◽  
Considerable Body

Modern scientific knowledge approaches the study of the physical and aesthetic bodies with a considerable body of texts. However, on the territory of the theater, the body is still considered exclusively from the point of view of the actor's artistic tools. Theatrical physicality and the character of physical empathy in the theater are not limited to the boundaries of the performing arts, but exist in close relationship with the visual and empirical experience of the spectator, performer, and director. The aesthetic and ethical aspect of the attitude to the body in the history of theatrical art has repeatedly changed, including under the influence of changing cultural criteria of "shameful". The culmination of the demarcation of theatrical shame, it would seem, should be an act of pure art, independent of the moral restrictions of society. However, the experiments of modern theater continue to face archaic ethical views. The article attempts to understand the cultural variability of such a phenomenon as shame in its historical and cultural extent using examples from theater art from antiquity to the present day.

Matrifilia – scriitura ca limbaj afectiv

Transilvania ◽  
2020 ◽  
pp. 101-108
Author(s):  
Diana Ilie
Keyword(s):  
Women Writers ◽  
Female Identity ◽  
Point Of View ◽  
The Body ◽  
The Self ◽  
Female Authors

This study aims to depict women’s authorship and their contribution to literature, while taking into consideration the genesis of female identity at the intersection between motherhood and feminism. I intend to do a neo-feminist exploration of the collective volume “Povești cu scriitoare și copii” [Stories with Women Writers and Children], coordinated by Alina Purcaru, an example of writing the self using poetry and affection – in other words, l’écriture féminine. Given the fact that the main goal of this study is the investigation of motherhood, while focusing on specific issues such as the body, agency, autonomy, alterity, and their relation to the patriarchal norms, the result is a compassionate approach to writing from the point of view of female authors. To create and procreate become the epitome of this study, in a field ever so dynamic as the ethics of birth and literature.

The king's head

Iraq ◽  
2004 ◽  
Vol 66 ◽  
pp. 115-119 ◽  
Author(s):  
Zainab Bahrani
Keyword(s):  
Point Of View ◽  
The Body ◽  
Roland Barthes ◽  
Historical Event ◽  
The Real ◽  
Narrative Art ◽  
Current Events ◽  
Distinctive Aspect

The composition of the battle of Til-Tuba from Sennacherib's palace at Nineveh is usually described as a relief depicting a recorded historical event. It is considered a good and solid example of the Assyrian concern with history and the Assyrian propensity for propagandistic depictions of current events. The scene, which is surely saturated in the ideology of empire, has already been discussed from that point of view. Is it true to the historical event? Is it an exaggeration? Did the Assyrians really do these things? How close or how distant is this depiction of the battle from the real historical event of war?The Assyrian method of representation is generally one that is attentive to minute details and concerned with ethnographic accuracy, even when the composition is hierarchical and representations of the body are stylised into abstract patterns. Realism is certainly a distinctive aspect of Assyrian narrative art and accurate details of dress and landscape were used to create what Roland Barthes would have called the effect of the real.

scholarly journals Female Roles in La Cinta Dorada by María Manuela Reina and Models of the World

2021 ◽  
Vol 8 (1) ◽  
Author(s):  
Ana María Aguilar López ◽  
Marta Miguel Borge
Keyword(s):  
Internal Model ◽  
Point Of View ◽  
The Past ◽  
Male Characters ◽  
The World ◽  
And Gender ◽  
Psychological Balance ◽  
Over Time ◽  
Female Drama

Our model of the world that we perceive within ourselves, our conscience, in short, our psychological balance is influenced by our surroundings. Part of the input to which we are exposed in this immediate environment is related to texts, self-managed discourse, which can also influence our internal model of the world; hence they are deserving of our attention. In the same way as the models of the world that we construct throughout our lives, reality is not static and also changes as time goes by. From a social point of view, we can see that the roles of women in modern-day society and the ways that those roles can be perceived today are a consequence of changes initiated in the past within different areas and in a prolonged process over time up until our day. With the aim of evaluating whether female drama has contributed to that change, we present an analysis in this paper of the play La Cinta Dorada [The Golden Ribbon] by María Manuela Reina, written and set in the 1980s, a decade that for Spain implied a more obvious abandonment of the most traditional conceptions of the role of women. In the analysis of the play, we see how the models of the world of the older people are counterposed with those of the younger people, a generational divide that is enriched with the gender difference, as we also analyze how the psychological structures of the female and male characters confront the clichés pertaining to another era in reference to such topics as success, infidelity, matrimony, and gender. The results of our analysis demonstrate how Reina responds to archaic conceptions, thereby inciting the audiences of the day to question their respective models of the world, especially, with regard to the role of the woman in society. 

scholarly journals Maskuliniti yang Diruntuhkan Feminiti: Satu Penelitian Stereotaip Gender dalam Novel Seri Dewi Malam Karya Affifudin Haji Omar

2021 ◽  
Author(s):  
Wan Hasmah Wan Teh
Keyword(s):  
Cultural Context ◽  
Female Gender ◽  
The Novel ◽  
Female Representation ◽  
Female Authors ◽  
Male Characters ◽  
Second Sex ◽  
Feminist Ideology ◽  
Female Stereotypes ◽  
And Gender

Ideologi feminis menyumbang kepada fahaman bahawa lelaki dan perempuan dipengaruhi oleh pengalaman kehidupan yang berbeza ketika menghasilkan sesebuah karya kreatif. Feminis percaya bahawa pengarang lelaki tidak dapat menampilkan dimensi kejiwaan perempuan kerana mereka tidak pernah merasai pengalaman sebagai seorang perempuan. Ideologi seperti ini muncul sebagai tindak balas terhadap kebanyakan karya yang dihasilkan oleh pengarang lelaki yang sering mempersembahkan watak perempuan sebagai the second sex, terpinggir, bisu dan lemah dalam sistem sosial yang didominasi oleh lelaki. Walau bagaimanapun, tindakan pengarang lelaki ini tidak boleh dihukum kerana kegagalan mereka memahami dimensi perempuan yang berbeza dari diri mereka. Pencitraan perempuan daripada perspektif pengarang lelaki harus dilihat daripada konteks masyarakat dan budaya yang meletakkan stereotaip tertentu mengikut jenis kelamin. Bertitik tolak daripada fahaman tersebut, makalah ini mengupas konsep gender yang dibentuk oleh masyarakat sosial serta meneliti imej stereotaip lelaki yang dikenali sebagai gender maskulin dan imej stereotaip perempuan yang dikenali sebagai gender feminin. Hasil dapatan makalah ini mendapati pengarang novel Seri Dewi Malam telah mengubah fahaman pembaca tentang pengarang lelaki dalam mencitrakan imej perempuan dan menolak stereotaip sedia ada dengan menonjolkan imej positif yang dimiliki oleh watak Rohana sebagai gender feminin yang meruntuhkan stereotaip gender maskulin watak-watak lelaki di dalam novel.   The feminist ideology argues that the production of a creative work amongst male and female authors is defined by their specific life and gender experience. Feminists believe that male authors are unable to tap into the thoughts and emotional dimension of female authors because they have never experienced the life of a female. This argument emerged as a form of reaction towards the production of novels by male authors who often portray the female characters as ‘the second sex’, forsaken, tacit and weak in the male-dominated social system. Understandably, these prejudiced portrayals reflect their failure in understanding the female gender as a whole. Narrating the female from the male perspective thus has to be approached from the social and cultural context that gives rise to these stereotypes. This paper addresses the notion of gender from the perspective of society and explores the conceptual division between the male representation as ‘masculine' and female representation as ‘feminine’ in the novel Seri Dewi Malam. It argues that the author of the novel has managed to transform the female stereotypes by instilling more positive representations to the protagonist Rohana and her femininity in challenging the masculinity of male characters.

scholarly journals What food do we feed girls as artist upon?

Ars Educandi ◽  
2020 ◽  
Vol 17 (17) ◽  
pp. 89-104
Author(s):  
Chiara Malpezzi
Keyword(s):  
Children's Literature ◽  
Virginia Woolf ◽  
Children’S Literature ◽  
Point Of View ◽  
The Body ◽  
Artistic Development ◽  
Body And Soul ◽  
And Gender ◽  
Material Conditions ◽  
Room Of One's Own

Virginia Woolf in A room of one’s own (1929) builds a strong connection between food and the material conditions of women writers, asking herself: what food do we feed women as artists upon? From this point of view, food can be considered a metaphor for the achievement of both artistic and gender equality. Hence, my paper aims to outline the relevance of this under-investigated topic in children’s literature, focusing on feminist Künstellromans, namely stories about a female artist’s journey to maturity. Drawing from the methodology of Nodelman, I will investigate two opposite narrative situations: famine and feast. In the first one, the lack of food represents the struggle in the artistic development, often caused by a hostile educational environment, while, in the second, nourishment can be interpreted as fruitful sustainment for the body and soul. My hypothesis seeks to underline how food and girls’ development as women and artists intertwine in children’s literature, figuring out a possible answer to Woolf’s question.

scholarly journals Questions of Female Gaze: Males Through Eyes of Females in Vijay Tendulkar’s Select Plays

2021 ◽  
Vol 9 (7) ◽  
pp. 151-159
Author(s):  
Tamal Ghsoh
Keyword(s):  
Point Of View ◽  
The Body ◽  
Male Gaze ◽  
Male Characters ◽  
Body Activity ◽  
Female Gaze ◽  
Female Figures ◽  
Male Discourse ◽  
The Times ◽  
Set Up

Gaze, as defined by Oxford Advance learner’s Dictionary, “is an interested steady look at something or somebody” (642). The privilege of gazing presupposes or attributes some power in the onlookers. So, gaze is an expression of power, a way of looking, a point of view or a medium to establish and extend dominance. In a patriarchal set-up of society, the role of the onlooker is played most of the times by males, and according to Laura Mulvey, women are generally made to appear as the visual sex objects of male desire and pleasure. Here, my question is, do the females dare to return the male gaze in one way or another? I want to dwell upon the possibility of a reversed or altered picture of male gaze in the context of Tendulkar’s plays. So, let the females be the gazers and males be the gazed in the context of Tendulkar’s selected plays and let me make an attempt to study certain male characters as looked by certain female figures. Champa and Laxmi in Sakharam Binder, Leela Benare and Mrs. Kashikar in Silence! the Court is in Session and Sarita and Kamala in Kamala  represent a polarity of ‘female eyes’. Champa, Leela Benare, and Sarita take guts to have a gaze at the body, activity, and position of their chauvinistic male counterparts and often, put a question mark to the so-called vanity of masculinity. But Laxmi, Mrs. Kashikar, and Kamala look at men in the way men want to be looked at with all of his power over them. In view of the above, I shall try to show whether there is a scope for an active female gaze? If yes, to what extent? Do they transgress their traditional roles imposed on them in returning the male gaze and open up a space for anti-male discourse?

scholarly journals BODY AND GENDER RELATIONSHIP IN CERAMIC WORKS OF PABLO PICASSO, PETER VOULKOS AND SERGEI ISUPOV

2020 ◽  
Vol 9 (76) ◽  
Keyword(s):  
Ceramic Materials ◽  
Point Of View ◽  
The Body ◽  
The Other ◽  
Pablo Picasso ◽  
Modern Process ◽  
Ceramic Art ◽  
And Gender

The notions of body and gender have been one of the artistic means of expression of all societies. This is due to the body being a part of humanity’s own existence and individuality. As for gender, this is a concept that puts forth the constructs based on society and the identity of society itself. The aim of the research is to investigate why the artists in question applied the concept of body in ceramic works. To reveal the differences by giving examples of the usage of ceramic materials in traditional and contemporary terms.In the findings obtained in the study, it was determined that ceramics can have different applications, both functional and artistic. From this point of view, it is the other purpose of the research to examine and reveal how and why these two different situations are applied. In this research, the sociological investigation of the body has been carried out by including the first examples of the notions of body and gender in the Prehistoric era. The scope and limitations of the research were determined as the samples of Ancient Age ceramics and the works of Pablo Picasso, Peter Voulkos and Sergei Isupov. The reason for choosing these examples; to identify what are the changes and developments in the traditional and modern process of ceramics. Thus, it is considered that the changes and developments in ceramic as both a material and an idea will be noticed. The scope of the research carries importance as part of understanding the traditional and contemporary distinctions of body and gender concepts in ceramics. In this context, it is thought that the concepts of idea, concept, body and gender will be discussed frequently in contemporary ceramic art. Keywords: Body, gender, contemporary interpretations, ceramic art

Parathyroid gland before and after cisplatin treatment

1987 ◽  
Vol 45 ◽  
pp. 860-861
Author(s):  
S.K. Aggarwal ◽  
J.M. Fadool
Keyword(s):  
Parathyroid Gland ◽  
Wistar Rats ◽  
Antitumor Agent ◽  
The Body ◽  
Cross Linking ◽  
Limiting Factor ◽  
Hormonal Changes ◽  
Primary Mechanism ◽  
Before And After ◽  
Dna Strands

Cisplatin (CDDP) a potent antitumor agent suffers from severe toxic side effects with nephrotoxicity being the major dose-limiting factor, The primary mechanism of its action has been proposed to be through its cross-linking DNA strands. It has also been shown to inactivate various transport enzymes and induce hypocalcemia and hypomagnesemia that may be the underlying cause for some of its toxicities. The present is an effort to study its influence on the parathyroid gland for any hormonal changes that control calcium levels in the body.Male Swiss Wistar rats (Crl: (WI) BR) weighing 200-300 g and of 60 days in age were injected (ip) with cisplatin (7mg/kg in normal saline). The controls received saline injections only. The animals were injected (iv) with calcium (0.5 ml of 10% calcium gluconate/day) and were killed by decapitation on day 1 through 5. Trunk blood was collected in heparinized tubes.

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