FILME “O SORRISO DE MONA LISA”

O artigo propõe uma intersecção entre o filme “O Sorriso de Mona Lisa” e a crítica ao patriarcalismo dominante da sociedade. Para viabilizar o desenvolvimento e a articulação entre direito e cinema, foi adotado o caminho de estabelecer um referencial teórico apoiado em três autores principais: Friedrich Engels, Judith Butler e Pierre Bourdieu. Embora cada autor tenha seu estilo próprio, buscou-se aqui um lugar comum para a crítica ao patriarcalismo e para a leitura de conjecturas que desencadeiam o não-lugar da mulher. Por isso foi utilizada a metodologia hipotético-dedutiva e a pesquisa do tipo bibliográfica. A conclusão a que se chega é de que embora tenham ocorrido avanços no plano do ordenamento normativo, aspectos da tradição, da cultura e da moral acabam dificultando e inviabilizando a emancipação feminina e sua luta política para fazer valer seus direitos.

Digital Image Evolution of Artwork Without Human Evaluation Using the Example of the Evolving Mona Lisa Problem

Whether for optimizing the speed of microprocessors or for sequence analysis in molecular biology — evolutionary algorithms are used in astoundingly many fields. Also, the art was influenced by evolutionary algorithms — with principles of natural evolution works of art that can be created or imitated, whereby initially generated art is put through an iterated process of selection and modification. This paper covers an application in which given images are emulated evolutionary using a finite number of semi-transparent overlapping polygons, which also became known under the name “Evolution of Mona Lisa”. In this context, different approaches to solve the problem are tested and presented here. In particular, we want to investigate whether Hill Climbing Algorithm in combination with Delaunay Triangulation and Canny Edge Detector that extracts the initial population directly from the original image performs better than the conventional Hill Climbing and Genetic Algorithm, where the initial population is generated randomly.

Women and Matrimony: A Study of Mona Lisa Smile

This study intended to use the film Mona Lisa Smile (1993) as an example to examine how women in the traditional generation of 1950 were gender stereotyped and used to trade themselves off through marriage in consideration of a cost-and-benefit analysis. However, as the change of women’s gender consciousness from the conservative to the feminist in the USA of 1950, women began to realize their potential and subjectivity, hence questing for liberal spirit and autonomy to choose their career and husbands based on love. The researchers used the qualitative method, with both the primary and secondary data, to facilitate a latent-content analysis. After conducting a content analysis of the film and the script of Mona Lisa Smile, the researchers took notes regarding gender stereotyping and conventional gender norms in social interactions and conducted a literature review of Becker’s side bet theory and Homan’s social exchange theory to investigate how women in America in the 1950s were disciplined to meet the expectation of social norms to fit the notion of conventional matrimony, and how people, both men and women, while choosing their mates, seek the maximum interest and minimum cost. The film Mona Lisa Smile lets readers have a chance to see the transformation of a marital relationship from the old days to modern ones. With raised gender consciousness, women may now subject their choices to their own will and, hence, apply a different definition to the word “marriage.”

Water logged Mona Lisa: who is Mary Sue, and why do we need her?

Theorists suggest that participatory readers create mainstream-based texts - fan crafts - in order to address the ways they are 'hailed' by the themes and subject positions offered by a text by becoming textual re-writers (Jenkins, 1992,2003 ; Busse & Hellekson, 2007; Chander & Sunder, 2007; Willis, 2007). Re-writers force their personal position or opinions into the centre by creating fanworks based in and on established media texts. The 'Mary Sue' is a self-gratifying fan-crafting trope centered on an idealistic authorrepresentative character, a wish-fulfillment device for the re-writer that bridges the re-writer's reality and that of her favoured fiction. This paper is a comprehensive summarizing of the 'Mary Sue' and its precedents. It asks how they can be deployed as Meta Sues to actively investigate the self or marginalized subjects in media texts. It is accompanied

Water logged Mona Lisa: who is Mary Sue, and why do we need her?

Theorists suggest that participatory readers create mainstream-based texts - fan crafts - in order to address the ways they are 'hailed' by the themes and subject positions offered by a text by becoming textual re-writers (Jenkins, 1992,2003 ; Busse & Hellekson, 2007; Chander & Sunder, 2007; Willis, 2007). Re-writers force their personal position or opinions into the centre by creating fanworks based in and on established media texts. The 'Mary Sue' is a self-gratifying fan-crafting trope centered on an idealistic authorrepresentative character, a wish-fulfillment device for the re-writer that bridges the re-writer's reality and that of her favoured fiction. This paper is a comprehensive summarizing of the 'Mary Sue' and its precedents. It asks how they can be deployed as Meta Sues to actively investigate the self or marginalized subjects in media texts. It is accompanied

Structural Beauty: A Structure-Based Computational Approach to Quantifying the Beauty of an Image

To say that beauty is in the eye of the beholder means that beauty is largely subjective so varies from person to person. While the subjectivity view is commonly held, there is also an objectivity view that seeks to measure beauty or aesthetics in some quantitative manners. Christopher Alexander has long discovered that beauty or coherence highly correlates to the number of subsymmetries or substructures and demonstrated that there is a shared notion of beauty—structural beauty—among people and even different peoples, regardless of their faiths, cultures, and ethnicities. This notion of structural beauty arises directly out of living structure or wholeness, a physical and mathematical structure that underlies all space and matter. Based on the concept of living structure, this paper develops an approach for computing the structural beauty or life of an image (L) based on the number of automatically derived substructures (S) and their inherent hierarchy (H). To verify this approach, we conducted a series of case studies applied to eight pairs of images including Leonardo da Vinci’s Mona Lisa and Jackson Pollock’s Blue Poles. We discovered among others that Blue Poles is more structurally beautiful than the Mona Lisa, and traditional buildings are in general more structurally beautiful than their modernist counterparts. This finding implies that goodness of things or images is largely a matter of fact rather than an opinion or personal preference as conventionally conceived. The research on structural beauty has deep implications on many disciplines, where beauty or aesthetics is a major concern such as image understanding and computer vision, architecture and urban design, humanities and arts, neurophysiology, and psychology.