Beyond the Atrium to Ariadne: Erotic Painting and Visual Pleasure in the Roman House

1995 ◽  
Vol 14 (2) ◽  
pp. 266-288 ◽  
Author(s):  
David Fredrick
Keyword(s):  
Male Body ◽  
The Gaze ◽  
Visual Pleasure ◽  
Class Status ◽  
Spatial Hierarchy ◽  
Narrative Film ◽  
Class And Status ◽  
Pattern Books

Wallace-Hadrill's reading of spatial hierarchy does not address the representation of gender in mythological paintings. However, a rough survey indicates that the majority are erotic and/or violent. Erotic depictions common on household items (mirrors, lamps, Arretine ware) suggest that the Romans were sensitive to this content; the likely use of pattern books in selecting programs for domestic decoration suggests a synoptic awareness of it. This points to the applicability of contemporary theories of representation and power, and Mulvey's model of visual pleasure in narrative film is adapted for this paper. According to Mulvey, film offers two pleasures: (1) scopophilia, which presents the woman as aesthetic-erotic fragments, suggesting but concealing her difference (culturally read as castration); (2) sadistic voyeurism, which assumes difference and then investigates, punishes, or forgives it. Both are illustrated in paintings of Ariadne abandoned and rediscovered, and in other paintings which portray either the gaze (Polyphemus at Galatea, Actaeon at Diana) or erotic violence (rapes of Cassandra, Daphne, Auge). While these paintings seem to confirm in relation to gender what the rest of the house says about class and status, some paintings confuse the issue. The male body is often fetishized (Narcissus, Endymion, Cyparissus), and attacked (Hylas, Actaeon, Pentheus); gender and role are sometimes deliberately ambiguous (Hermaphroditus). Such transgressions of the boundaries of the male body are not a part of Mulvey's theory, and they suggest the use of gender to complicate as well as confirm the class/status message of the house; two different negotiations of this use are found in the House of the Vettii and the House of the Ara Maxima. One can compare reversals and reassertions of gender, class and status in other evidence, in literature, pantomime and the games.

scholarly journals Hierarchy salience and social action: disentangling class, status, and authority in world politics

2018 ◽  
Vol 33 (1) ◽  
pp. 88-108 ◽  
Author(s):  
Carsten-Andreas Schulz
Keyword(s):  
Social Action ◽  
Social Stratification ◽  
International Politics ◽  
Two Dimensions ◽  
World Politics ◽  
Legitimate Authority ◽  
Social Closure ◽  
Ideal Types ◽  
Class Status ◽  
Class And Status

Hierarchy is a persistent feature of international politics. Existing accounts recognize that there are many ways in which actors can stand in relation to one another. Yet they struggle to make sense of this complexity. This study considers Max Weber’s contribution to understanding international hierarchy. It discusses three ideal types of stratification based on the distribution of capabilities (class), estimations of honor and prestige (status), and command relationships (authority). Following the neo-Weberian approach, these dimensions matter because they make social action intelligible. Furthermore, Weber clarifies how class and status are connected and how these two dimensions relate to authority through the process of ‘social closure’. The study concludes that scholars who focus exclusively on authority structures miss the fact that authority typically derives from other forms of stratification: although based on different logics of social stratification, class and status hierarchies often coalesce into (legitimate) authority.

Corporeal Intentions

2017 ◽  
Author(s):  
Stephen Amico
Keyword(s):  
Gay Men ◽  
First Century ◽  
Male Body ◽  
Male Homosexuality ◽  
The Gaze ◽  
Eurovision Song Contest ◽  
The Feminine ◽  
Twenty First Century ◽  
Physical Beauty

This chapter explores how male homosexuality is suggested via the presentation of the sexualized male body as object of the gaze—an objectifying gaze placing the male in the position of the “feminine.” It looks at the efflorescence of images of male physical beauty in the musical discourses of numerous singers and bands in the first two decades of the twenty-first century in Russia and how these images were conflated with homosexuality or homoeroticism. To this end, the chapter examines instances of the male body's foregrounding in the work of Andrei Danilko, the groups Hi-Fi and Smash!!, and singer Dima Bilan (focusing on his appearances at the Eurovision Song Contest). It highlights not only the variable of the body's visibility (and, concomitantly, questions of power), but also the interrelated and phenomenologically inflected dynamics of intentionality, proximity, and orientation. It shows that visible male bodies, invoking the possibility of the homosexual, provide a sight/site for Russian gay men and also serve the goluboi.

scholarly journals Kamera Sebagai Alat Operasi Male Gaze: Analisis Male Gaze dalam Film Horor “Pacar Hantu Perawan”

2016 ◽  
Vol 12 (1) ◽  
pp. 19
Author(s):  
Diyah Ayu Karunianingsih
Keyword(s):  
Female Body ◽  
Horror Film ◽  
Male Gaze ◽  
The Gaze ◽  
The People ◽  
Visual Pleasure

Abstrak Kehadiran perempuan dalam sebuah film horor dapat dilihat dari bagaimana perempuan direpresentasikan dan diposisikan. Film yang dianalisis adalah film horor berjudul Pacar Hantu Perawan. Menurut Lauretis teknik sinematik mengonstruksi perempuan sebagai objek hasrat pandangan bagi penonton dengan menggarisbawahi representasi tubuh perempuan sebagai sisi utama seksualitas dan kesenangan visual. Dalam tulisan ini dianalisis teknik sinematik terutama kamera dengan berbagai pilihan tipe pengambilan gambar (type of shot) yang digunakan. Analisis juga dilakukan terhadap teknik pencahayaan (lighting) dan pilihan kostum. Dari hasil analisis diketahui bahwa teknik sinematik baik teknik pengambilan gambar (type of shot) maupun pencahayaan digunakan untuk melancarkan hasrat memandang laki-laki (male gaze)  dan mengeksploitasi tubuh perempuan demi kesenangan visual. Kamera digunakan sebagai alat beroperasinya hasrat memandang (voyerist gaze).  Perempuan diposisikan sebagai objek bagi pandangan laki-laki yang patuh terhadap tatapan mata kamera (tatapan mata laki-laki). Teknik sinematik mengonstuksi perempuan sebagai objek hasrat pandangan bagi orang-orang di balik produksi dan penonton.Kata kunci: male gaze, teknik sinematik, perempuan, objek seksualitas  AbstractCamera as a Tool of Male Gaze Operations: The Analysis of Male Gaze in Horror Film “Pacar Hantu Perawan”. The presence of women in a horror movie can be seen from how women are represented and positioned. The title of The film being analyzed is ‘Pacar Hantu Perawan’. According to Lauretis, cinematic technique is used to construct women as an object of eyeing desire for the audience by highlighting the representation of the female body as the primary side of sexuality and visual pleasure. In this paper the cinematic techniques were analyzed, especially the camera with its various types of shooting.  Analyses were also conducted on the technique of lightings and costume selection. The result of the analyses shows that the cinematic techniques, either the types of shots or the lightings were used to expedite the male gaze and exploit the female body for the sake of visual pleasure. The camera is used as an operating means of eyeing desire (voyeur gaze). Women were positioned as the objects of the male gaze adherent to the gaze of the camera (male gaze). Cinematic techniques constructed women as objects of male gaze for the people behind the production as well as the audience.Keywords:

Beyond the Urban-Rural Divide: Complexities of Class, Status and Hierarchy in Bankok

2011 ◽  
Vol 39 (5) ◽  
pp. 674-701 ◽  
Author(s):  
Sophorntavy Vorng
Keyword(s):  
English Language ◽  
Political Conflict ◽  
Ethnographic Approach ◽  
Situational Characteristic ◽  
Status Differentiation ◽  
Urban Rural ◽  
Class Status ◽  
Class And Status

Abstract The Thai political conflict is often described in terms of an urban-rural class divide. Using an emic, ethnographic approach, I problematise this analysis by examining Bangkokian notions of class and status differentiation. These have their bases in the feudal sakdina era as well as notions of Buddhist hierarchy, and privilege cosmopolitanism, foreignness and wealth, as encapsulated by such hybrid concepts as ‘inter’ and ‘hi-so’ — both of which are adopted from the English language phrases ‘international’ and ‘high society’, respectively. Such notions cannot adequately be explained in terms of Western-centric concepts of class, yet are nevertheless shaped by Thailand’s historical engagement with Western powers as well as subsequent processes of globalization. Furthermore, status appraisal in Bangkok includes nuanced distinctions of consumption, education, ethnicity, and occupation, amongst other things, while simultaneously having a situational characteristic. This compels us to examine a variety of factors beyond the urban-rural divide in the discussion of the ongoing crisis.

Validity Support for the Male Body Attitudes Scale

2006 ◽  
Author(s):  
Derek Bergeron ◽  
Tracy L. Tylka
Keyword(s):  
Male Body ◽  
Body Attitudes
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