Mestizo Modernity

2018 ◽  
Keyword(s):  
The Body ◽  
Industrial Growth ◽  
Jose Vasconcelos ◽  
Diego Rivera ◽  
Mixed Race Identity ◽  
Race Identity ◽  
Female Bodies ◽  
Building Project ◽  
Jose Clemente Orozco ◽  
Mexican Identity

Mexico’s traumatic Revolution (1910–1917) attested to stark divisions that had existed in the country for many years. Following the conflict, postrevolutionary leaders attempted to unify the country’s diverse (particularly indigenous) population under the umbrella of official mestizaje. Indigenous Mexicans would have to assimilate to the state by undergoing projects of “modernization” that entailed industrial growth through the imposition of a market-based economy. One of the most remarkable aspects of this nation-building project was the postrevolutionary government’s decision to use art to communicate discourses of official mestizaje. Until at least the 1970s, state-funded cultural artists whose work buoyed official discourses by positing mixed-race identity as a key component of an authentic Mexican identity. State officials viewed the hybridity of indigenous and female bodies with technology as paramount in their attempts to articulate a new national identity. As they fused the body with technology through medicine, education, industrial agriculture, and factory work, state officials believed that they could eradicate indigenous “primitivity” and transform Amerindians into full-fledged members of the nascent, mestizo state. This book discusses the work of José Vasconcelos, Diego Rivera, José Clemente Orozco, Emilio “El Indio” Fernández, El Santo, and Carlos Olvera. These artists—and many others—held diametrically opposed worldviews and used very different media while producing works during different decades. Nevertheless, each of these artists posited the fusion of the body with technology as key to forming an “authentic” Mexican identity.

Painting Mestizaje in a New Light

2018 ◽  
pp. 59-99
Author(s):  
David S. Dalton
Keyword(s):  
Twentieth Century ◽  
Mixed Race ◽  
The State ◽  
Spanish Conquest ◽  
Diego Rivera ◽  
Mixed Race Identity ◽  
Race Identity ◽  
European Science ◽  
Racial Discourses ◽  
Jose Clemente Orozco

This chapter analyzes the state-funded murals of Diego Rivera and José Clemente Orozco, two artists who served as de facto mouthpieces for the state as they trumpeted the postrevolutionary tenets of official mestizaje through their work. Despite sharing the state’s seal of approval, the two men communicated contradictory racial discourses as they disagreed about the proper place of the nation’s European and indigenous heritage within the official ideology. That said, both men’s work was pro-mestizo despite the fact that they conceived mixed-race identity in very different ways. Orozco’s understanding of racial and technological hybridity tended toward hispanismo as he constantly validated the result—if not the means—of the Spanish conquest. Unlike Orozco, Rivera carefully separated European science—which he celebrated—from the cosmology that had permitted the destruction of thousands of indigenous lives. Instead, he posited an essentialistic indigenous spirit that would redeem mestizo Mexico from the conquering nature it had inherited from its European progenitors. This paternalistic understanding of indigeneity led to an indigenista discourse that became the favored paradigm of official mestizaje throughout the mid-twentieth century.

Updating long-held assumptions about fat stigma: For women, body shape plays a critical role

2020 ◽  
Author(s):  
Jaimie Krems ◽  
Steven L. Neuberg
Keyword(s):  
Body Shape ◽  
Critical Role ◽  
The Body ◽  
Theoretical Assumption ◽  
Obesity Stigma ◽  
Obese Female ◽  
Three Samples ◽  
Female Bodies ◽  
Different Parts ◽  
Fat Stigma

Heavier bodies—particularly female bodies—are stigmatized. Such fat stigma is pervasive, painful to experience, and may even facilitate weight gain, thereby perpetuating the obesity-stigma cycle. Leveraging research on functionally distinct forms of fat (deposited on different parts of the body), we propose that body shape plays an important but largely underappreciated role in fat stigma, above and beyond fat amount. Across three samples varying in participant ethnicity (White and Black Americans) and nation (U.S., India), patterns of fat stigma reveal that, as hypothesized, participants differently stigmatized equally-overweight or -obese female targets as a function of target shape, sometimes even more strongly stigmatizing targets with less rather than more body mass. Such findings suggest value in updating our understanding of fat stigma to include body shape and in querying a predominating, but often implicit, theoretical assumption that people simply view all fat as bad (and more fat as worse).

Visual body processing’s associations to Body Mass Index and internalization of societal beauty ideals

2020 ◽  
Author(s):  
Valentina Cazzato ◽  
Elizabeth Walters ◽  
Cosimo Urgesi
Keyword(s):  
Body Mass Index ◽  
Body Mass ◽  
Visual Processing ◽  
The Body ◽  
Configural Processing ◽  
Cultural Ideals ◽  
Beauty Ideals ◽  
Female Bodies ◽  
Processing Mechanisms ◽  
Attention To Detail

We examined whether visual processing mechanisms of the body of conspecifics are different in women and men and whether these rely on westernised socio-cultural ideals and body image concerns. Twenty-four women and 24 men performed a visual discrimination task of upright or inverted images of female or male bodies and faces (Experiment 1) and objects (Experiment 2). In Experiment 1, both groups of women and men showed comparable abilities in the discrimination of upright and inverted bodies and faces. However, the genders of the human stimuli yielded different effects on participants’ performance, so that male bodies and female faces appeared to be processed less configurally than female bodies and male faces, respectively. Interestingly, altered configural processing for male bodies was significantly predicted by participants’ Body Mass Index (BMI) and their level of internalization of muscularity. Our findings suggest that configural visual processing of bodies and faces in women and men may be linked to a selective attention to detail needed for discriminating salient physical (perhaps sexual) cues of conspecifics. Importantly, BMI and muscularity internalization of beauty ideals may also play a crucial role in this mechanism.

BODY PRACTICES OF WOMEN IN THE LIGHT OF FEMINIST DEBATES

2018 ◽  
pp. 129-156 ◽  
Keyword(s):  
Female Body ◽  
Sense Of Self ◽  
Social Institutions ◽  
The Body ◽  
Social Regulation ◽  
Critical Study ◽  
Phenomenological Tradition ◽  
Academic Feminism ◽  
Female Bodies ◽  
Body Practices

The paper provides an analysis of the structuralist and phenomenological traditions in interpretation of female body practices. The structuralist intellectual tradition bases its methodology on concepts from social anthropology and philosophy that see the body as ‘ordered’ by social institutions. Structuralist approaches within academic feminism are focused on critical study of the social regulation of female bodies with respect to reproduction and sexualisation (health and beauty practices). The author focuses on the dominant physical ideal of femininity and the means for body pedagogics that have been constructed by patriarchal authority. In contrast to theories of the ordered body, the phenomenological tradition is focused on the “lived” body, embodied experience, and the personal motivation and values attached to body practices. This tradition has been influenced by a variety of schools of thought including philosophical anthropology, phenomenology and action theories in sociology. Within academic feminism, there are at least three phenomenologically oriented strategies of interpretation of female body practices. The first one is centred around women’s individual situation and bodily socialization; the second one studies interrelation between body practices and the sense of the self; and the third one postulates the potential of body practices to destabilize the dominant ideals of femininity and thus provides a theoretical basis for feminist activism. The phenomenological tradition primarily analyses the motivational, symbolic and value-based components of body practices as they interact with women’s corporeality and sense of self. In general, both structuralist and phenomenological traditions complement each other by focusing on different levels of analysis of female embodiment.

Embodiment in Ezekiel

2020 ◽  
Author(s):  
Rhiannon Graybill
Keyword(s):  
Foreign Bodies ◽  
The Body ◽  
The People ◽  
Female Bodies ◽  
Constructing Meaning ◽  
The Relationship

This chapter shows how embodiment plays an important role in constructing meaning in the book of Ezekiel. The text contains a number of bodies, including human bodies (Ezekiel, the people of Judah), supernatural or divine bodies (Yahweh, the cherubim, various divine messengers), metaphorical bodies (the female bodies in Ezekiel 16 and 23), foreign bodies (various foreign nations), and animate “dry bones” in Ezekiel 37. The body is central to the practice of prophecy in the book. It is likewise fundamental to performances of gender and to the negotiation of the relationship between Yahweh and the people, including Ezekiel himself. Focusing on the body also highlights the significance of masculinity in the text, as well as its instability.

Gendered Secularization and the Body Policing of Muslim Women

2018 ◽  
Author(s):  
Raissa Killoran
Keyword(s):  
Muslim Women ◽  
The State ◽  
The Body ◽  
Religious Expression ◽  
Women's Bodies ◽  
Cultural Symbols ◽  
Religious Symbols ◽  
Female Bodies ◽  
The Many ◽  
A Site

The many usages of the term ‘secularism’ have generated an ambiguity in the word; as a political guise, it may be used to engender anti-religious fervor. Particularly in regards to veiling among female Muslim adherents, the attainment of a secular state and touting of the necessity of dismantling religious symbols have functioned as linguistic shields. By calling a “burka ban” necessary or even egalitarian secularization, legislators employ ‘secularization’ as jargon for political ends, enacting a stance of supremacy under the semblance of progress. Secularization has come to function as a political tool - in the name of it, governments may prescribe which cultural symbols are normative and which are of ‘other’ cultures or religious origins. As such, the identification of some religious symbols as foreign and others as normative is a usage of secularization for normalization of dominant religious expression. In this, there is an implicit neocolonialism; by imposing standards of cultural normalcy which are definitively nonMuslim, such policies attempt to divorce Muslims from Islam.  Further, I intend to investigate the gendered aspect of secularization politics. By critiquing clothing and body policing of women, I will demonstrate how secularization projects use the female body and dress as a site for display. By rendering the female physically emblematic of the honor and virtue of an ‘other’ culture, those enacting secularization norms target women’s bodies to act as visual exhibitions of the dominant culture’s hegemony. Here, we see gendered secularization at work - female bodies become controlled by the antireligious zeal of the state, while the state carries out this control on the predicate that it is the religious group enacting unjust control. As such, the policing of female Muslim bodies is symbolic of the policing of Islam as a whole; it acts as an illustration of an imposed, gendered secularization project.

scholarly journals Shaping Toronto: female economy and agency in the corset industry, 1871-1914

2021 ◽  
Author(s):  
Alanna M. M. McKnight
Keyword(s):  
Nineteenth Century ◽  
Material Culture ◽  
The Body ◽  
Fashion History ◽  
Women's Bodies ◽  
The Gaze ◽  
Female Consumers ◽  
Private And Public ◽  
Female Bodies ◽  
The Relationship

In amplifying the contours of the body, the corset is an historical site that fashions femininity even as it constricts women’s bodies. This study sits at the intersection of three histories: of commodity consumption, of labour, and of embodiment and subjectivity, arguing that women were active participants in the making, selling, purchasing and wearing of corsets in Toronto, a city that has largely been ignored in fashion history. Between 1871 and 1914 many women worked in large urban factories, and in small, independent manufacturing shops. Toronto’s corset manufacturers were instrumental in the urbanization of Canadian industry, and created employment in which women earned a wage. The women who bought their wares were consumers making informed purchases, enacting agency in consumption and aesthetics; by choosing the style or size of a corset, female consumers were able to control to varying degrees, the shape of their bodies. As a staple in the wardrobe of most nineteenth-century women, the corset complicates the study of conspicuous consumption, as it was a garment that was not meant to be seen, but created a highly visible shape, blurring the lines between private and public viewing of the female body. Marxist analysis of the commodity fetish informs this study, and by acknowledging the ways in which the corset became a fetishized object itself, both signaling the shapeliness of femininity while in fact augmenting and diminishing female bodies. This study will address critical theory regarding the gaze and subjectivity, fashion, and modernity, exploring the relationship women had with corsets through media and advertising. A material culture analysis of extant corsets helps understand how corsets were constructed in Toronto, how the women of Toronto wore them, and to what extent they actually shaped their bodies. Ultimately, it is the aim of this dissertation to eschew common misconceptions about the practice of corsetry and showcase the hidden manner in which women produced goods, labour, and their own bodies in the nineteenth century, within the Canadian context.

Tamayo, Rufino (1899–1991)

2018 ◽  
Author(s):  
Valentina Locatelli
Keyword(s):  
Latin American ◽  
Abstract Expressionism ◽  
American Art ◽  
Latin American Art ◽  
Diego Rivera ◽  
Avant Garde ◽  
The World ◽  
Emotional Aspects ◽  
Poetic Realism ◽  
Jose Clemente Orozco

A Mexican painter and muralist of indigenous heritage, Rufino Tamayo was one of the most important representatives of figurative abstraction and poetic realism in 20th-century Latin American art. A supporter of the universalistic approach to art, in the late 1940s he started a controversy—the so called ‘‘polémica Tamayo’’—by positioning himself against the classical Mexican school and its ‘‘Big Three,’’ the muralists José Clemente Orozco, Diego Rivera and Alfaro Siqueiros. Contrary to the stress they put on art as political, Tamayo focused on its poetic and emotional aspects. Tamayo’s art is based both on Mexican figurative traditions (characterized by the rigor and geometry of pre-Hispanic sculpture and its imaginative and magical character), and on the influence of European and North American avant-garde movements, especially Impressionism, Fauvism, Cubism, Futurism, Surrealism and Abstract Expressionism. His sensibility for nature and spirituality, his interest in ordinary people, and his ability to synthesize different pictorial languages with Mexican folk art and beliefs, have made him a very popular artist, nationally and internationally. Throughout his career Tamayo directed his effort ‘‘towards the salvation of painting, the preservation of its purity and the perpetuation of its mission as translator of the world’’ (Paz 1985: 23).

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