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 The Criteria of Ideal Man as Seen from Female Gaze in Free!

K ta Kita ◽  
2019 ◽  
Vol 7 (2) ◽  
pp. 165-172
Author(s):  
Dita Berlian
Keyword(s):  
Personality Traits ◽  
Sex Role ◽  
Point Of View ◽  
Male Gaze ◽  
The Gaze ◽  
Female Gaze ◽  
Male Sex ◽  
Definition Of ◽  
Female Audience ◽  
The Ideal

Japanese animations (anime) are worldwide known. They are targeted to various kinds of audience. A drama-sport anime entitled Free! is rarely found as the targeted audience is female audience. Because Free! targets female audience, the definition of the ideal men is defined from the point of view of the female audience. Therefore, the gaze which is used to identify the male protagonists is female gaze. By using the theory of male gaze and traditional male sex role themes, I found that there is a combination of masculinity and femininity in the male protagonists in Free!. The combined characteristics are shown in the physical appearance, personality traits, and roles. The appearance of this type of an ideal man leads to a new concept in Japan which is called bishōnen. Keywords: Anime, ideal man, masculinity, femininity, female gaze, bishōnen.

scholarly journals АНТРОПОМЕТРИЧНІ ТИПОЛОГІЇ СПОЖИВАЧІВ В ДИЗАЙНІ СУЧАСНОГО ОДЯГУ

2019 ◽  
pp. 69-76
Author(s):  
Є. О. Головчанська
Keyword(s):  
Industrial Production ◽  
Body Shape ◽  
Visual Illusions ◽  
Point Of View ◽  
The Body ◽  
Women's Clothing ◽  
Industrial Manufacture ◽  
Female Figures ◽  
Methods Analytical

Explore the existing anthropometric classifications of women's figures from the point of view of the clothes’ design for industrial production. To reveal the methodological significance of anthropometric classifications of consumer figures in the development of structural construction and content of clothing collections of industrial production. For the purpose of structuring consumer typology as the basis for designing industrial production clothing were used following methods: analytical-typological, comparative-typological, comparative-historical and comparative methods. In the article are analyzed the existing anthropometric typologies of female figures in the context of generally accepted sewing industry classifications, as well as modern trends in the creation of harmonic images with using visual illusions. Also in the article are determined the basic types of women’s body forms, which are the most frequently meet. Accordingly, it is advisable to take into account these types of figures in the design of women's clothing of industrial manufacture. The scientific novelty consists in systematizing modern typologies of the body shape of women for the design of clothing with their subsequent use in the process of designing an industrial collection of modern women's clothing. The systematized information is given about the classification of the modern typology of female figures for the design of assortment collections of promising women's clothing. The presented researches reveal ways of development and active use of methods of visual illusions for the development of women's clothing of industrial production.

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.

A propósito del cuerpo, desde una perspectiva psicoanalítica. / A purpose of the body, from a psychoanalytic perspective.

2013 ◽  
Vol 2 (04) ◽  
pp. 39-55
Author(s):  
Rosa Lagos Torres
Keyword(s):  
Point Of View ◽  
The Body ◽  
Psychoanalytic Perspective ◽  
The Subject ◽  
The Times ◽  
The Relationship

Este artículo muestra los efectos de la época y la cultura actual sobre la relación con el cuerpo, considerado como una unidad de valor en el mercado. Desde el psicoanálisis, en un recorrido por la noción de cuerpo tanto en Freud como en Lacan, se presenta una noción de cuerpo distinta a la de la medicina, diferenciando cuerpo y organismo, estableciendo que no hay El cuerpo, sino tantos cuerpos como sujetos, siendo el cuerpo concebido como una construcción a partir de la palabra y de la imagen, dando lugar al síntoma (Freud) como metáfora alojada en el cuerpo y como sinthome (Lacan) en tanto acontecimiento del cuerpo que empalma al sujeto con su modalidad de gozar, al hablante ser en su singular modalidad de satisfacción pulsional. This paper shows the effects of the times and the current culture on the relationship with the body, considered as a unit of value in the market. From the psychoanalysis point of view, on a tour of the notion of the body, with Freud, and Lacan both, the notion of body is different from the body presented by the medicine, distinguishing between body and organism. Stating that there is not A body, but many bodies as subjects, being the body, conceived as a construction from the word and the image, resulting in the symptom (Freud) and housed in the body as a metaphor and as a sinthome (Lacan) in all events of the body, that matches the subject with its way jouissance to the parletre in its singular modality of pulsional satisfaction.

The Practice of “Controlled Dreams” in the Alchemical Tradition of Taoism

2021 ◽  
Vol 20 (10) ◽  
pp. 9-23
Author(s):  
Alexey A. Maslov
Keyword(s):  
Point Of View ◽  
The Body ◽  
Self Control ◽  
Two Agents ◽  
The World ◽  
Meditative Practice ◽  
Set Up ◽  
Complete Transformation

The paper focuses on the Taoist concept of “dreams”, which is considered from the point of view of the meditative practice of “realized dreams” or “controlled visions”. Famous Taoist masters Chen Tuan (10th cent.), Ma Danyang (12th cent.), Bai Yuchan (12th cent.) and many others implemented techniques of “controlled dreams” as a type of meditative alchemical practice: erasing the frontier between sleep and reality, long periods of vigil in a state of “almost sleep” lead to deactualization of the own “ego”. Deliverance from the conventions of the “dream world” leads to the beginning of the mystical transformations inside the body, and the practitioner passes through several stages: to set up breathing, calm consciousness, the beginning of the “copulation” inside the body of two agents (analogs of alchemical lead and mercury), concluding with the formation of a “miracle remedy”. With the control of the spirit-shen, overnight visions were the continuation of the Taoist self-control during the day, while due to various psychosomatic methods, dreams and reality were perceived as a single indistinguishable continuum, and various “lustful desires” were expelled from consciousness. In this regard, the popular idea of a “dream” in Taoist practice, just as a philosophical and aesthetic category, seemed to be too one-sided. The technique of “controlled dreams” did not exist in separation from the general alchemical practice and was rather an additional than the central part of it. Dreams themselves, in other words, the uncontrolled immersion of a person into the world of images and traces of consciousness, at that moment turned into his opposite – a similar, but not identical – in the colossal work of the spirit for the complete transformation into an “immortal”.

The Revolutionizing of the Revolution

2017 ◽  
Author(s):  
R. R. Palmer
Keyword(s):  
French Revolution ◽  
Point Of View ◽  
Strict Sense ◽  
French Government ◽  
Thing In Itself ◽  
Set Up ◽  
The Moment ◽  
The French Revolution ◽  
The Revolution

In 1792, the French Revolution became a thing in itself, an uncontrollable force that might eventually spend itself but which no one could direct or guide. The governments set up in Paris in the following years all faced the problem of holding together against forces more revolutionary than themselves. This chapter distinguishes two such forces for analytical purposes. There was a popular upheaval, an upsurge from below, sans-culottisme, which occurred only in France. Second, there was the “international” revolutionary agitation, which was not international in any strict sense, but only concurrent within the boundaries of various states as then organized. From the French point of view these were the “foreign” revolutionaries or sympathizers. The most radical of the “foreign” revolutionaries were seldom more than advanced political democrats. Repeatedly, however, from 1792 to 1799, these two forces tended to converge into one force in opposition to the French government of the moment.

Graphic design practice of an image for the Chinese character for "鼓 Drum"

2019 ◽  
Author(s):  
POHSUN WANG
Keyword(s):  
Design Thinking ◽  
Chinese Character ◽  
Science And Technology ◽  
Point Of View ◽  
Learning Design ◽  
Design Practice ◽  
Cultural Issues ◽  
Artistic Value ◽  
The Status ◽  
The Times

Basic shape is one of the most important components of the learning design process. Using Western design thinking to understand shape, color and composition layout and attempting to reinterpret the application of traditional calligraphy from a design point of view—whether it is the expression of form or the meaning of content—are both important aspects of design thinking. The writing patterns of traditional calligraphy and the design creation of modern experiments may have different biases. If the artistic value of "the brush and ink of the time" is compared to the science and technology of innovation as the main appeal, the expressiveness of the traditional writing mode is obviously difficult to achieve. Using science and technology as an option for design creation is a difficult way to proceed; however, technology, ideas and thinking can still be in sync with the cultural issues of an entire era. This is also the test of the times to which contemporary creations are subjected. There are infinite possibilities for development, and it is worthwhile to explore these possibilities together with artistic aspirants. On the other hand, if we follow the well-beaten path of the status quo, the creativity of traditional calligraphic art will wither, it will deviate from the larger environment of the era in which it operates, and it will inevitably be neglected and pushed out by other art categories. The design and creation process uses the traditional calligraphy characters and drums as the theme, assisted by digital tools in the creation, and finally transforms the traditional calligraphy visual form into an expression of the art of science and technology.

LOGICAL FATALISM AS A PSYCHOLOGICAL FEATURE OF THE ARCHETYPE OF DARGINTS

Globus ◽  
2020 ◽  
Author(s):  
I. Bagandova ◽  
Keyword(s):  
Folk Art ◽  
Point Of View ◽  
Historical Events ◽  
Psychological Feature ◽  
The People ◽  
The Times

This study is devoted to the study of the features of the archetype of the Dargins, the formation of which dates back to the times of paganism and, which was imprinted by both religious ideas and historical events that had a significant impact on the worldview and worldview of the people. This work is the first attempt to analyze the archetype of the Dargins from the point of view of its inherent fatalism on the basis of proverbs, sayings and legends of the Dargin people, which represent the wealth of oral folk art and reflect the specifics of the psychological formation of the people that have been taking shape for millennia

Integrating Focusing and Differentiation: A Therapeutic Path for Couples in Intimate Relationships

2018 ◽  
Vol 3 ◽  
Author(s):  
Evi Zohar
Keyword(s):  
Couples Therapy ◽  
Therapeutic Potential ◽  
Well Being ◽  
Point Of View ◽  
The Body ◽  
Self Awareness ◽  
Emotional Healing ◽  
Felt Sense ◽  
Inner World

Continuing the workshop I've given in the WPC Paris (2017), this article elaborates my discussion of the way I interlace Focusing with Differentiation Based Couples Therapy (Megged, 2017) under the systemic view, in order to facilitate processes of change and healing in working with intimate couples. This article presents the theory and rationale of integrating Differentiation (Bowen, 1978; Schnarch, 2009; Megged, 2017) and Focusing (Gendlin, 1981) approaches, and its therapeutic potential in couple's therapy. It is written from the point of view of a practicing professional in order to illustrate the experiential nature and dynamics of the suggested therapeutic path. Differentiation is a key to mutuality. It offers a solution to the central struggle of any long term intimate relationship: balancing two basic life forces - the drive for individuality and the drive for togetherness (Schnarch, 2009). Focusing is a body-oriented process of self-awareness and emotional healing, in which one learns to pay attention to the body and the ‘Felt Sense’, in order to unfold the implicit, keep it in motion at the precise pace it needs for carrying the next step forward (Gendlin, 1996). Combining Focusing and Differentiation perspectives can cultivate the kind of relationship where a conflict can be constructively and successfully held in the inner world of each partner, while taking into consideration the others' well-being. This creates the possibility for two people to build a mutual emotional field, open to changes, permeable and resilient.

Obesity in Children - An alarming problem in Kaumarbhritya

2017 ◽  
Vol 2 (4) ◽  
Author(s):  
Sharma Shilpi ◽  
Sharma Rakesh ◽  
Bhima Devi ◽  
Asharafi Bakhtyar
Keyword(s):  
Body Weight ◽  
Childhood Obesity ◽  
Life Style ◽  
Dietary Habits ◽  
The Body ◽  
Continuous Change ◽  
Body Activity ◽  
Obesity In Children ◽  
At Home

A roly-poly child obviously attracts many attentions but if the trend remains unchanged it could be a reason of worry as this is the primitive sign of childhood obesity which is the leading problem in today’s era. With continuous change in life style and dietary habits, child has become the victim of many diseases and obesity (Sthaulya) is one of them. There are and were some human activists talking about reducing the weight of study bags; but none is thinking about the weight our babies are carrying. In present era both parents are working, to earn the luxuries and amusements, so the kids are left with the food packets at home with idiot boxes to see some “de-shaped” cartoons resulting in the reduction of healthy nutritious diet and also reducing their body activity. The body weight of our babies is putting pressure on their “cuteness”, their “happiness”, their “emotions” and on their “being”. In Ayurveda it needs step by step examination and treatment to break the ‘Dushtasamprapti Chakra’ of Sthaulya by both non pharmacological such as Yoga and pharmacological remedies such as Panchakarma therapy, Shamana therapy etc. to achieve the goal.

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