scholarly journals Formation of Female Deity Archetype in Arts and Crafts of Ukraine

ART Space ◽  
2018 ◽  
pp. 90-92
Author(s):  
Olha Konovalova
Keyword(s):  
Religious Beliefs ◽  
Arts And Crafts ◽  
Female Figure ◽  
Female Figures

The article investigates the origins and analyses the semantics of the sacred female figure of a womangoddess in the context of arts and crafts of archaic cultures in Ukraine. The connection between the religious beliefs and images of stylized female figures on the pottery of the Cucuteni-Trypillian culture and in the toreutics of Scythia.

Dai ladini ai Walser : elementi di continuità e distorsione della figura femminile nei miti alpini

Ladinia ◽  
2021 ◽  
Vol 45 ◽  
pp. 95-160
Author(s):  
Clara Mazzi
Keyword(s):  
Comparative Study ◽  
Female Figure ◽  
Female Figures ◽  
The Alps

This article is a comparative study, in which a certain type of female figure from the Ladin mythology, the gana and Donna Chenina, is analysed and compared with similar figures found in other productions spread over the Alps, in order to verify whether they are all referable to one specific ancient figure from which all the others have descended with slight variations. The study confirms the hypothesis of a Celtic substratum to which it is possible to refer and which has formed ganes, dialas and fairies, according to where they can be found across the Alps. This is supported by the fact that these female figures have different names but their essential characteristics are constant, very precise and refer, most likely, to very ancient divinities, worshipped at a time when Europe was still an Indo-Europe-an group, had become familiar with agriculture and was probably populated by matrilineal societies.

Introduction

2020 ◽  
pp. 1-18
Author(s):  
Celene Ibrahim
Keyword(s):  
Family Members ◽  
Female Figure ◽  
Stylistic Elements ◽  
The Family ◽  
Female Figures ◽  
Comprehensive Listing

The book’s introduction provides a comprehensive listing of female figures in the Qur’an. This includes references to the family members of Qur’anic prophets—figures who feature as mothers, wives, daughters, and extended female kin. It situates each Qur’anic female figure vis-à-vis other figures along the narrative arc from the genesis of humanity, through the ancient peoples and their prophets, to the advent of the Qur’an in Arabia. The listing also includes categories of paradisal beings and women figures who are alluded to but not depicted directly. In addition, the book’s introduction outlines how retelling the sacred past generates a new sacred present that is affective and didactic. It discusses relevant rhetorical and stylistic elements of the Qur’an, considers competing methodological trends in Qur’anic studies, and summarizes some of the work’s broader implications for feminist and female-centric exegesis.

ASNAT: Nabi Surgawi Yang Tersembunyi

2017 ◽  
Vol 16 (1) ◽  
pp. 49
Author(s):  
Asnath Niwa Natar
Keyword(s):  
Women's Roles ◽  
Mothers And Daughters ◽  
Female Figure ◽  
Patriarchal Culture ◽  
Women’S Roles ◽  
Female Figures ◽  
To Come

Abstract: There are some salient female figures who play significant roles in the Bible’s stories. Unfortunately, their stories are not described sufficiently; or in other words, male’s roles have dominated mostly and disguised them. Female figures are conveyed in relation to the men, such as wives, mothers and daughters. Patriarchal culture has abolished women’s roles in history, cultures and religions which give crucial impacts to the exclusion of women in most of their life’s aspects. One of such women who’s deprived is Aseneth, the Joseph’s wife, the Potipherah’s daughter. Aseneth is the significant female figure who plays an outstanding role. Furthermore, she’s an heavenly prophet, to whom the mystery of God’s revealed unspeakably. It’s related to the event when God touched Aseneth’s mouth with the honeycomb, the similar significant story of the calling of the prophets, as it happened upon Jeremiah (Jer 1:9) and Isaiah (Isa 6:6ff). Aseneth’s figure will be able to inspire and strengthen women to come out from their silence and reluctance. Otherwise, she will have encouraged women to struggle against the obstacles of cultures and religion faced for the sake of men’s and women’s equal life. Keywords: Woman, Patriarchal, Aseneth, Joseph, prophet, Culture, religion, equal. Abstrak: Ada banyak tokoh-tokoh perempuan yang cukup berperan dalam Alkitab, namun kisah mereka dipotong atau dihilangkan demi menonjolkan peran dan dominasi laki-laki. Kaum perempuan hanya disebut sepintas lalu dalam kaitan dengan laki-laki, yaitu sebagai istri, ibu dan anak perempuan. Budaya patriarkhi telah menyingkirkan perempuan dalam sejarah, budaya dan agama yang berdampak pada penyingkiran kaum perempuan hampir dalam semua bidang kehidupan termasuk dalam kehidupan keagamaan. Salah satu kisah perempuan yang dihilangkan atau disembunyikan adalah kisah Asnat, anak Fotifera dan istri Yusuf. Asnat adalah seorang perempuan yang aktif bahkan seorang nabi Surgawi, dimana kepadanya disingkapkan rahasia Allah yang tak terkatakan. Hal ini dihubungkan dengan peristiwa disentuhnya mulut Asnat dengan sarang lebah, sebagai sebuah kisah pemanggilan nabi-nabi. Peristiwa yang sama terjadi pada pemanggilan Yeremia (Yer 1:9) dan Yesaya (Yes 6:6 dst) sebagai nabi. Kisah Asnat akan memberikan inspirasi dan kekuatan bagi kaum perempuan untuk keluar dari kebungkaman dan kepasifan mereka serta berjuang melawan rintangan-rintangan budaya dan agama yang ada demi kehidupan yang setara antara laki-laki dan perempuan. Kata-kata Kunci: Perempuan, Patriarki, Asnat, Yusuf, nabi, budaya, agama, kesetaraan.

scholarly journals Two Greek Reliefs

1890 ◽  
Vol 11 ◽  
pp. 284-285
Author(s):  
G. C. Richards
Keyword(s):  
Left Shoulder ◽  
Female Figure ◽  
Central Figure ◽  
Ancient Athens ◽  
Usual Manner ◽  
Female Figures ◽  
Full Face

In the bas-relief room of the Naples Museum is a well-known relief of Hellenic workmanship from Herculaneum, the importance of which has often been pointed out in connection with the art-type of three female figures, variously taken to represent the Charites, the Nymphs, the three goddesses or the daughters of Kekrops, according to the company in which they are found. Inside a plain shrine represented by two antae supporting an architrave, above which are seven knobs indicating the anthemia of the roof-ridges, are seven female figures hand in hand, six of them of the same size and the last smaller. The first three, two of whom are looking to the left, wear over a long chiton a himation wrapped over the left shoulder in the usual manner, and remind one somewhat of the Pyrrichist base in the Acropolis Museum; the second trio are simply clad in Doric girdled chiton, two of these also looking to the left: the seventh is a small similarly clad female figure seen full face. It is noticeable that the central figure is absolutely full face and that those at the two ends have their faces slightly turned towards the centre, a device for securing the symmetry of the group. The connection of this work with the archaic coloured relief, lately discovered on the Acropolis and published by M. Lechat in the Bulletin de Correspondance Hellénique for 1889, in which Hermes piping precedes the three Graces who follow hand in hand to the left, their faces seen full, and lead after them a small similarly dressed figure, has been pointed out most recently by Miss Harrison in her Mythology and Monuments of Ancient Athens; but the interesting names inscribed below the Naples relief (C. I. G. iv. 6854e) seem to have been disregarded. Either they are a forgery, in which case the fact should certainly be established; or, if genuine, they seem to confirm the identification of the Acropolis group with the Charites and to supply an interesting clue to this mysterious small figure. Under the first trio are the names given to the Graces in later times, ΕΥΦΡΟΣΥΝΗ ΑΓΛΑΙΗ ⊙ΑΛΙΗ. The next three bear the apparent fancy names of ΙΣΜΗΝΗ ΚΥΚΑΙΣ ΕΡΑΝΝΩ.

scholarly journals Genealogia femenina en Els jeroglífics i la pedra de Rosetta (1976) de Carmelina Sánchez-Cutillas

2021 ◽  
Vol 17 ◽  
pp. 485
Author(s):  
Verònica Cantó Doménech
Keyword(s):  
Cultural Background ◽  
Female Figure ◽  
The Past ◽  
Female Figures ◽  
Gender Awareness ◽  
Poetry Collection

Resum: L’objectiu d’aquest article és fer una aproximació a la genealogia femenina que transita pel poemari Els jeroglífics i la pedra de Rosetta, amb la finalitat de comprovar que la presència de determinades figures femenines no és casual, sinó que respon a una clara consciència de gènere de Carmelina Sánchez-Cutillas; així com també verificar que la tipologia femenina s’oposa a un seguit de figures masculines, associades a conceptes d’autoritat i opressió, tan representatius de la visió androcèntrica patriarcal de la societat franquista. A partir de l’anàlisi d’aquest poemari, en el qual l’autora incorpora tot el seu extraordinari bagatge cultural i fa una exhibició de la seua erudició, ens aventurem a oferir una nova perspectiva d’anàlisi basada en l’estudi de la simbologia que amaguen les catorze figures femenines mitològiques presents en l’obra, caracteritzades per trets com la universalitat, la fortalesa o la saviesa, que són recuperades per l’escriptora com a veus del passat que retornen al present amb una gran força evocadora, amb afany de denúncia, per a rescatar-nos del silenci, del buit, de la foscor, per a retornar-nos la consciència, la identitat i la dignitat individual i col·lectiva.Paraules clau: Carmelina Sánchez-Cutillas, figura femenina, mitologia, simbologia, consciència de gènere Abstract: The purpose of this article is to approach female genealogy in the poetry collection Els jeroglífics i la pedra de Rosetta, in order to prove that the presence of certain female figures is not accidental, but rather responds to a clear gender awareness on the part of Carmelina Sánchez-Cutillas. The paper also aims to verify that female typology is opposed to a series of male figures, associated with concepts of authority and oppression, representative of the androcentric patriarchal view of the Francoist society. From the analysis of this book of poems, in which the author incorporates all of her extraordinary cultural background and manifests her erudition, we venture to provide inside into the study of the symbology underlying the fourteen mythological female figures present in the work. They are characterized by features such as universality, strength or wisdom, which are recovered by the writer as voices of the past that return to the present with great evocative force and with a desire to denounce, to rescue us from the silence, the emptiness, the darkness, to regain our consciousness, identity and individual and collective dignity. Keywords: Carmelina Sánchez-Cutillas, female figure, mythology, symbolism, gender awareness

scholarly journals The Semi-Nude and Collapsing Female Figure: Sexuality in the Aesthetic Paintings of Albert Moore and Edward Burne-Jones

2021 ◽  
Author(s):  
Meaghan Collins
Keyword(s):  
Visual Analysis ◽  
Body Language ◽  
Female Figure ◽  
Female Nude ◽  
Victorian Period ◽  
History Of Art ◽  
Female Figures ◽  
History Of ◽  
Pre Raphaelites ◽  
The Aesthetic

The female nude has been researched extensively over the history of Art, and continues to fascinate researchers and art enthusiasts alike. However it is difficult to find information on female figures who are semi-nude: one who is not fully clothed nor entirely nude. The Victorian period in England was a very conservative time, especially for women. Influenced by the Pre-Raphaelites, Aesthetic painters Albert Moore and Edward Burne-Jones depicted women in a peculiarly sexual manner, one that encapsulates the struggle with sexual acceptance of the era. Women are often shown wearing loose, transparent fabric and often asleep or in languid, weary poses. These weary poses are what I refer to as “collapsing women.” In this visual analysis I take a close look at these female figures, and examine them using the terms “semi-nude” and “collapsing female,” in order to determine the meaning behind their dress and body language.

Height on the Draw-a-Person: Comparison of Figure Drawings of Black and White Male Drug Abusers

1977 ◽  
Vol 44 (3_suppl) ◽  
pp. 1187-1190
Author(s):  
Frank Patalano
Keyword(s):  
Therapeutic Community ◽  
Family Background ◽  
White Male ◽  
Drug Abusers ◽  
Female Figure ◽  
Black And White ◽  
Cultural Considerations ◽  
Female Figures ◽  
The Mean ◽  
Figure Drawings

The Draw-A-Person Test was administered to 30 black and 30 white male drug abusers, in a residential therapeutic community. Mean height and mean area of the female figures drawn by the black subjects were greater than the mean height and mean area of the female figures drawn by the white subjects. More black subjects drew the female figure taller than the male figure. Data were discussed in regard to family background and socio-cultural considerations.

Butler, Reginald Cotterell [Reg] (1913–1981)

2018 ◽  
Author(s):  
Kitty Hudson
Keyword(s):  
Contemporary Art ◽  
Subject Matter ◽  
Political Prisoner ◽  
Female Figure ◽  
Central Figure ◽  
Freudian Theory ◽  
Prehistoric Art ◽  
Festival Of Britain ◽  
Female Figures ◽  
Post War

A central figure among the post-war sculptors who came to prominence at the 1952 Venice Biennal, Reg Butler is best known for winning the Institute of Contemporary Art (ICA) competition to design a monument to The Unknown Political Prisoner in 1953, although the design was never fully realized as a sculpture. Butler initially trained as an architect, but started to achieve success and publicity as a sculptor with his first solo exhibition at the Hanover Gallery in 1949. His aesthetic influences were varied: from Freudian theory and Surrealism, to African and prehistoric art, as well as contemporary classicism and the post-war "art of trauma". He went on to take part in the Festival of Britain in 1951 and, in the same year, began teaching at the Slade, where he eventually became the Director of Sculpture Studies in 1966. Though his technique developed from welding to model\ling and casting in bronze, his subject matter never strayed far from the female figure. From the late 1960s until his death in 1981, Butler produced increasingly distorted and overtly sexualized female figures in painted bronze, distancing himself from his more abstract modernist contemporaries.

scholarly journals Vashti and Sita: The Daring Sisters We Could Trust

2015 ◽  
Vol 14 (1) ◽  
pp. 83-94
Author(s):  
Mmapula D. Kebaneilwe ◽  
Pulane E. Motswapong
Keyword(s):  
Hebrew Bible ◽  
Female Figure ◽  
Female Figures ◽  
Gender Based

Abstract The aim of this paper is to make a comparison between two female figures from two different religions. Vashti is one of the unsung heroines in the Book of Esther in the Hebrew Bible, while Sita in the Book of Ramayana is a revered female figure among Hindus. The tales of these women seem to display similarities in the ideals they embody and hence we endeavour to read them together. We wish to explore the extent to which Vashti and Sita’s tales of female courage and daring could inspire women today who continue to suffocate under oppressive patriarchal contexts. This is relevant to the context of Botswana, where despite global efforts to bend gender-based inequality, women continue to be victimised.

scholarly journals The Semi-Nude and Collapsing Female Figure: Sexuality in the Aesthetic Paintings of Albert Moore and Edward Burne-Jones

2021 ◽  
Author(s):  
Meaghan Collins
Keyword(s):  
Visual Analysis ◽  
Body Language ◽  
Female Figure ◽  
Female Nude ◽  
Victorian Period ◽  
History Of Art ◽  
Female Figures ◽  
History Of ◽  
Pre Raphaelites ◽  
The Aesthetic

The female nude has been researched extensively over the history of Art, and continues to fascinate researchers and art enthusiasts alike. However it is difficult to find information on female figures who are semi-nude: one who is not fully clothed nor entirely nude. The Victorian period in England was a very conservative time, especially for women. Influenced by the Pre-Raphaelites, Aesthetic painters Albert Moore and Edward Burne-Jones depicted women in a peculiarly sexual manner, one that encapsulates the struggle with sexual acceptance of the era. Women are often shown wearing loose, transparent fabric and often asleep or in languid, weary poses. These weary poses are what I refer to as “collapsing women.” In this visual analysis I take a close look at these female figures, and examine them using the terms “semi-nude” and “collapsing female,” in order to determine the meaning behind their dress and body language.

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