scholarly journals A Mythological Nudist Lost in Swedish Suburbia: A study of the Nix’s masculinity and media-loric function in the manga series Oblivion High

2021 ◽  
Vol 15 (2) ◽  
Author(s):  
Olle Jilkén
Keyword(s):  
Visual Culture ◽  
Cultural Study ◽  
Hegemonic Masculinity ◽  
Visual Representation ◽  
Musical Instrument ◽  
Folklore Studies ◽  
Female Gaze ◽  
And Function ◽  
Shojo Manga ◽  
Art Style

This article explores the visual representation and function of the folkloric Scandinavian nix in the manga series Oblivion High (2012–2014) published by the manga studio Ms Mandu. The aim of the research is to investigate how a well-known folkloric image develops and to consider the nix’s portrayal of masculinity. The article is a critical cultural study based on feminist and queer perspectives on visual culture and folklore studies. The article concludes that the nix in Oblivion High must update his desirability through spectacular clothing and change of musical instrument to meet the contemporary Western heteronormative masculinity ideals. His weakness to the metal iron ties into the nix’s association to fairies and the construction of the nix’s underwater realm is connected to Norse mythology with the appearance of Aino from the Finish national epos Kalevala, Nornorna and hints of the Norse god Odin. Furthermore, the androgynous art style of shōjo manga (a sub-genre aimed at female teenage readers) creates a heterosexual female gaze pattern, while the imagery of a bishōnen (beautiful boy) connects the character Nix to the literary trope of the ‘pretty boy,’ leaving hegemonic masculinity unchallenged.

Fun with Dick and Dick: Homosociality on r/MassiveCock

Sexualities ◽  
2020 ◽  
pp. 136346072096130
Author(s):  
Rhiannon Bury ◽  
Lee Easton
Keyword(s):  
Social Media ◽  
Discourse Analysis ◽  
Gay Men ◽  
Hegemonic Masculinity ◽  
Gay Identity ◽  
Cultural Shift ◽  
Content Sharing ◽  
And Function ◽  
Selection Of

Social media and content-sharing platforms provide new opportunities for the circulation of not only professional and amateur porn productions but also “pornographic self-representation”. This study examines the interactions that occur when male pornographic self-representation is shared in an inclusive space that welcomes both straight and gay men to post dick pics and gaze/comment on them. Focusing on the Reddit forum, Massive Cock, we conducted a discourse analysis of a selection of posts, comments and account profiles collected over a seven-month period. Based on our findings, we contend that Massive is a homosocial space where homoerotic dick gazing reaffirms and disrupts the heterosexual–homosexual binary. Our findings point to an uneven dynamic in which the majority of the posters perform a straight identity, whereas the majority of commenters perform a gay identity. Their comments serve to disrupt hegemonic masculinity and, in turn, create a space that welcomes mostly straight and bi-curious performances of masculinity. Such performances are possible due to recent cultural shift away from homo-hysteria and towards a more inclusive heteromasculinity. Collectively these performances produce an inclusive “fraternity of the cock”, but it is one which maintains a heterocentric focus and function.

scholarly journals BENTUK PERTUNJUKAN DAN FUNGSI BUNDENGAN WONOSOBO

2019 ◽  
Vol 2 (2) ◽  
pp. 11-26
Author(s):  
Bahtiar Arbi ◽  
Richard Junior Kapoyos
Keyword(s):  
Data Collection ◽  
Community Integration ◽  
Musical Instrument ◽  
Cultural Continuity ◽  
Research Approach ◽  
Aesthetic Appreciation ◽  
Data Validity ◽  
Using Data ◽  
And Function ◽  
Head Covering

Bundengan is a musical instrument that is transformed from kowangan or tudhung. Kowangan is a kind of head covering made from bamboo slats, clumpring, and palm fibers that are used by duck herders to protect them from rain and sunlight. Bundengan is used as a dance accompaniment as in Lengger and Soreng. The purpose of this study is to analyze the form of performance and function of bundengan art. This study uses qualitative methods with data collection techniques interviews, observation, and study documents. Data validity techniques are based on credibility criteria, using data triangulation, while data analysis techniques are through data collection, presentation, reduction, and verification. This research approach uses an interdisciplinary qualitative approach, with intraesthetic studies on music forms and extraesthetics on music functions. The results of this study indicate that the form of the bundengan imitates the sound of gamelan (bendhe, kempul, gong, and kendang) applied to the pattern of the game to accompany the Lengger Topeng dance. While the function of bundengan music is as a dance accompaniment, emotional expression, aesthetic appreciation, entertainment, communication, related to social norms, cultural continuity, and community integration.

“We Simply Illustrate”

Graphic News ◽  
2020 ◽  
pp. 13-46
Author(s):  
Amanda Frisken
Keyword(s):  
Civil War ◽  
Visual Culture ◽  
Sexual Violence ◽  
Print Media ◽  
White Women ◽  
Visual Representation ◽  
Sexual Crimes ◽  
Men Of Color ◽  
Visual Expression ◽  
National Police

This chapter examines sexuality discourse and definitions of obscenity in print media following the Civil War. Editors of illustrated sporting weeklies, such as Frank Leslie (The Days’ Doings) and Richard K. Fox (The National Police Gazette) pushed the boundaries of visual representation. Meanwhile, anti-vice activist Anthony Comstock sought control over what could be seen in print. In pursuing the prosecution of Victoria Woodhull, Tennessee Claflin, Ezra Heywood, and D. M. Bennett, as well as sporting publications, Comstock shifted the focus of visual culture. His success in eliminating images he found shocking distorted the visualization of alleged sexual crimes as primarily the racial assault on white women by men of color. In other words, Comstock helped make the racialized rape/lynching mythos the dominant visual expression of sexual violence.

scholarly journals А. М. REMIZOV AND FOLKLORE: ON THE ISSUE OF RESEARCH METHODOLOGY

2021 ◽  
Vol 26 (2) ◽  
pp. 155-166
Author(s):  
Yana V. Nagornaya ◽  
Keyword(s):  
Literary Criticism ◽  
Fairy Tale ◽  
Point Of View ◽  
Creative Activity ◽  
Literary Genres ◽  
Folk Drama ◽  
Folklore Studies ◽  
History Of ◽  
State Of Research ◽  
And Function

The article presents a critical review of research works on the topic “Folklore-literary interaction in the creative activity of A.M. Remizov” published in Russian. The study of the topic has been conducted mainly within the framework of literary criticism. Meanwhile, for a writer known for his commitment to preservation and innovative approach to traditional literary genres, folklore is one of the dominant sources of creativity. Currently, Remizov studies cannot boast of generalizing works on folklorism in the writer’s creative activity and on the influence of oral folk art genres on his artistic system, so one of the aims of the article is to attract scholarly interest to the issue and stimulate further research in this area. The publication gives a brief description of the current state of research on the problem, identifies the main vectors of its consideration and reveals the academic lacunae. The author analyzes the works, which deal with the creative heritage from the point of view of folklore studies and address the problems of the typology of folklorism and mythologism of the writer, clarify the range of folklore sources and the specificity of working with them, as well as the role and function of the author’s comments on the miniatures of Posoloni. These notes to the texts were created under the influence of a literary scandal related to the accusation of the writer of plagiarism. The assessment of the events around this incident by specialists in Remisov studies and folklorists does not coincide, the article outlines prospects for further research. The author undertakes a detailed description of the influence of the texts of calendar rite, spiritual verses, fairy tale, conspiracy-spell tradition, folk drama, children’s folklore and Russian folk pictures on the writer’s creative activity. For the first time, the author poses a hypothesis about the possible influence of the aesthetics of rayok (“World Cosmorama”) on the work of A. M. Remizov by the example of the fairy-tale novella “What is Tobacco”, which which depicts the reformatting of the apocryphal model by artistic means of lubok and rayok. The analysis of numerous studies made it possible for the author of the article to conclude that the writer’s creative activity does not only reflect the real diversity of folklore genres but also such specific features of them as oral format and variability. The results of the study can be used in the design of the course of the history of Russian literature and folklore studies of the beginning of the early 20th century, in the studies dealing with folklore-literary interaction, and in popularization and publication of folklore texts.

Filipino American Visual Culture

2019 ◽  
Author(s):  
Sarita Echavez See
Keyword(s):  
United States ◽  
Visual Culture ◽  
Interior Design ◽  
Visual Representation ◽  
The United States ◽  
The Philippines ◽  
The Body ◽  
Filipino American ◽  
Wide Range ◽  
Cultural Forms

The visual display of Filipinos in the United States temporally and ideologically coincides with the American military conquest of the Philippines at the end of the 19th century, a brutal and brutally forgotten war that some scholars have described as genocidal according to even the most conservative definitions of genocide. This intimacy between empire and vision in the Philippine case has shaped and sharpened the stakes of studying Filipino American visual culture and its history, aesthetics, and politics. As with other minoritized communities in the United States, Filipino American visual culture is a means and site of lively and often contentious debates about representation, which typically revolve around how to document absence and how to establish presence in America. However, because Filipino Americans historically have a doubled status as minoritized and colonized—Filipinos in the United States were legally categorized as “nationals” during the colonial period even as the Philippines was deemed “foreign in a domestic sense” by the US Supreme Court—the matter of legal and visual representation is particularly complex, distinct from that of other Asian Americans and comparable with that of Native Pacific Islanders and Native Americans. So, while the politics of Asian American representation generally can get mired in debates about the absence or presence of “voice” in literature and the stereotypical or authentic depiction of the “body” in visual culture, Filipino American studies scholars of visual culture have provided valuable, clarifying insights about the relationship between imperial spectacle and history. To wit, the hypervisible representation of the Filipino in American popular cultural forms in the early decades of the 20th century—from the newspaper cartoon to the photograph to the World’s Fair exhibition—ironically enabled the erasure of the extraordinarily violent historical circumstances surrounding the emergence of the Filipino’s visibility. This relationship between spectacle and history or, rather, between visual representation and historical erasure, continues to redound upon a wide range of Filipino American visual cultural forms in the 21st century, from the interior design of turo turo restaurants to multimedia art installations to community-based murals.

A Novel Use of 3D Motion Capture: Creating Conceptual Links between Technology and Representation of Human Gesture in the Visual Arts

Leonardo ◽  
2010 ◽  
Vol 43 (1) ◽  
pp. 34-42 ◽  
Author(s):  
Gongbing Shan ◽  
Peter Visentin ◽  
Tanya Harnett
Keyword(s):  
Visual Culture ◽  
Motion Capture ◽  
Visual Arts ◽  
Aesthetic Experience ◽  
Three Dimensional ◽  
Human Movement ◽  
Human Form ◽  
The Aesthetic ◽  
And Function ◽  
3D Motion Capture

As an unfolding of time-based events, gesture is intrinsically integrated with the aesthetic experience and function of the human form. In historical and contemporary visual culture, various approaches have been used to communicate the substance of human movement, including use of science and technology. This paper links the understanding of human gesture with technologies influencing its representation. Three-dimensional motion capture permits the accurate recording of movement in 3D computer space and provides a new means of analyzing movement qualities and characteristics. Movement signatures can be related to the human form by virtue of trajectory qualities and experientially and/or culturally dependent interactions.

SEEING IS BELIEVING: THE POWER OF VISUAL CULTURE IN THE RELIGIOUS WORLD OF AŞE ZÄR'A YA'EQOB OF ETHIOPIA (1434-1468)

2002 ◽  
Vol 32 (4) ◽  
pp. 403-421 ◽  
Author(s):  
Steven Kaplan
Keyword(s):  
Visual Culture ◽  
Political Power ◽  
Visual Representation ◽  
Religious Life ◽  
Daily Basis ◽  
Virgin Mary ◽  
Divine Power ◽  
The Face ◽  
The Cross

AbstractThe prevailing image of Zär'a Ya'eqob has tended to emphasize the intellectual at the expense of the experiential and political power at the expense of religious power. It is to these relatively neglected aspects of religious life that this article is devoted. It is our purpose here to emphasize the importance of the Cross, the image of the Virgin, the construction of churches and other visual aspects of religious life in Zär'a Ya'eqob's Ethiopia. No other Ethiopian ruler confronted the religious challenges presented by a divided Church and a largely unChristianized empire as systematically and as successfully as Zär'a Ya'eqob. Moreover, he was as sensitive to the daily unspoken truths of religious life as he was to great theological debates and controversies. He understood power in all its manifestations and sought to protect his state, his church, and his people with every means at his disposal. By promoting devotion to both the Cross and the Virgin Mary, he built on the foundations prepared by his parents, especially his father Dawit. He also mobilized Christian symbols which transcended local rivalries and regional loyalties. These symbols, as well as the churches he built, were also particularly suited to visual representation and hence comparatively easy to propagate among Ethiopia's largely illiterate population. They were, moreover, effective instruments of divine power, which brought home not only the message of Christianity's truth, but also its efficacy in the face of the numerous threats that Christians faced on a daily basis.

scholarly journals Wittgenstein’s Bridge A Linguistic Account of Visual Representation

2021 ◽  
Author(s):  
Michael Biggs
Keyword(s):  
Visual Culture ◽  
Cultural Theory ◽  
Visual Representation ◽  
Image Interpretation ◽  
Early Period ◽  
Analytic Approach ◽  
Structure Mapping ◽  
Picture Theory ◽  
Theory Of Meaning ◽  
Linguistic Account

This paper uses structure-mapping to bridge the divide between the analytical and visual culture traditions of image interpretation. Wittgenstein’s analytic ‘picture theory of meaning’ from his early period, and his cultural theory of ‘meaning as use’ from his later period are used to show that the terms similarity, analogy and metaphor can be applied to both image and linguistic interpretation. As a result, by the mapping of similarity and analogy onto the analytic approach, and by the mapping of metaphor onto the visual culture approach, a common linguistic ground for the comparison of these two approaches to image interpretation can be established.

A network of photographs: The visual public memory of the Dutch Provo movement, 1967–2016

2021 ◽  
pp. 175069802110372
Author(s):  
Thomas Smits
Keyword(s):  
Social Movements ◽  
Visual Culture ◽  
Crucial Role ◽  
Public Memory ◽  
Visual Representation ◽  
Memory Studies ◽  
Municipal Governments ◽  
Qualitative Interpretation

This article builds on efforts to connect visual culture, social movements, and memory studies. It introduces the concept of visual public memory through a study of the circulation of photographs of the Dutch anarchist movement Provo between 1967 and 2016. It demonstrates that the visual public memory of a movement can be captured in a network composed of carriers of memory (newspapers, magazines, exhibitions, books), memorata (the remembered events), and mnemonic actors (actors that circulate the carriers of memory). Based on a qualitative interpretation of this network, the article follows four routes through it, uncovering the role of seemingly a-political mnemonic actors, such as municipal governments and museums, in the visual public memory of Provo. Showing how photographs are uniquely able to carry political possibility into memory, this article argues that visual representation plays a crucial role in how social movements are remembered.

«Le chant des formes. L'ecriture epigraphique, entre materialite du trace et trascendance des contenus»

1970 ◽  
Vol 27 ◽  
pp. 101-129
Author(s):  
Vincent Debiais
Keyword(s):  
Visual Culture ◽  
Visual Information ◽  
Cultural Context ◽  
Written Communication ◽  
Material Support ◽  
Culture Material ◽  
Communication Écrite ◽  
And Function

Resumen: Opposer écriture manuscrite et écriture épigraphique n’aurait dans le contexte culturel de l’Occident médiéval pas plus de sens que d’intérêt. Si les supports varient tout autant que les contenus, les techniques de réalisation ou les procédés de lecture, c’est la même praxis graphique qui est en jeu, et sans doute bien plus encore la même culture visuelle qui s’exprime. Les variations matérielles ou textuelles sont des adaptations aux objectifs et aux circonstances de la communication écrite. À la fois texte et matière, idée et objet, l’inscription se définit, au-delà des contenus et des fonctions qu’elle partage avec d’autres productions écrites médiévales, par une étendue physique qui lui accorde une réalité objectale. La communication épigraphique expose au passant une portion d’espace inscrit, quantité d’information visuelle reçue par le spectateur/lecteur potentiel de l’inscription. Comme le manuscrit, celleci se place donc dans un premier temps dans le domaine du visuel et du sensible. Elle cherche à donner à voir avant de donner à lire, et c’est pourquoi les conditions techniques de la réalisation de l’inscription cherche à figurer dans la matière l’image d’un texte.Palabras clave:  Epigraphie médiévale. Iconographie médiévale. Esthétique. Sculpture romane. Moissac. Musicologie.Abstract: In the cultural context of Medieval West, it would have no more sense than interest to set manuscript and epigraphic written practices. Content, material support, techniques of realization and processes of reading change from one media to another, but it is still the same graphic praxis and the same visual culture. Material or textual variations are adaptations to objectives and circumstances of written communication. At the same time text and material, idea and object, the inscription is defined by a physical extent which gives it objecthood and materiality, whatever its content and function. Epigraphic communication exposes to passers-by a portion of inscribed space, a quantity of visual information received by the potential spectator/reader of the inscription. As the manuscript, it first takes place in the field of visual and sensitive. It gives something to see and not to read, and that is why technical conditions of the realization of an inscription try to represent in material the imageof a text.Keywords: Medieval Epigraphy. Medieval Iconography. Aesthetics. Romanesque sculpture. Moissac. Musicology.

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