Relevant bibliographies by topics / Feminine beauty (aesthetics)

Academic literature on the topic 'Feminine beauty (aesthetics)'

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Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Feminine beauty (aesthetics)"

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Rai, Jiwan Kumar. "Narrating the Beauty Myth of Feminine Body Aesthetics in Classic Nepali Songs." JODEM: Journal of Language and Literature 14, no. 1 (August 14, 2023): 65–76. http://dx.doi.org/10.3126/jodem.v14i1.57568.

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This paper analyzes the most celebrated classic Nepali songs of all time – “Gaajalu Tee Thulaathulaa Aankhaa”, “Lolaaeka Tee Thulaa Timraa Dui Najarale”, “Timeelaai Ma Ke Bhanu”, and “Rhritu Harumaa Timee” – the former two songs are penned by M.B.B. Shah, the next one is by Dipak Jangam, and latter one is by Rajendra Rijal. These songs are sung by Gulam Ali, Narayan Gopal, and Arun Thapa respectively. This study aims to explore the mythical narratives of the mainstream feminine body aesthetics embedded in the songs – large and deep black eyes, long black eyebrows, long black blond hair, thin lips, delicate, white skin complexion, attractive, shy, and etc. – that are guided and constructed from the frame of the aesthetic standard that is set by mainstream patriarchal culture. The researcher has used the textual analysis method to analyze the selected texts. Roland Barthes’s concept of myth has been applied as a theoretical tool for the critical analysis of the selected songs to achieve the set objectives. As Barthes argues, myths are meta-language through which dominant and ruling power communicates its ideological standpoints and attempts to naturalize them. They function as a complex hierarchical semiotic register where the signifier transfers from first order referents of meaning to second order. As the songs are fabricated cultural products and myth narratives, they not only entertain the audience, but also innocently impose and disseminate the contingent ideas or ideologies that they carry. At the same time, they marginalize the feminine body aesthetics of minority groups who do not belong to the mainstream community. This study helps look critically at Nepali songs and any cultural products leading to rethinking and redefining the dominant body aesthetics and standardization.
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Cerrato Rodríguez, Barbara. "Literary approaches to the theory of thinness aesthetics." Arts & Humanities Open Access Journal 6, no. 1 (April 2, 2024): 61–65. http://dx.doi.org/10.15406/ahoaj.2024.06.00223.

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In this research we will address the negative view of female beauty canons. In addition, we will study what Bourdieu call the ‘paradox of the doxa’ and Barthes' notion of second-level meaning, which apparently contribute to sustaining the tyranny of female beauty. In contrast, we will delve into Lipovetsky's theory of the aesthetics of thinness, which considers thinness a symbol of self-control, success and self-management. In other words, thinness would translate the feminine desire for emancipation and equality. Thus, we will start from this theory to analyze some works by Najat El Hachmi, a hybrid and "atravesada" author, which will allow us to analyze the different conceptions of thinness in two cultures.
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Thompson, Lanny. "Aesthetics and Empire : The Sense of Feminine Beauty in the Making of the US Imperial Archipelago." Culture & History Digital Journal 2, no. 2 (December 30, 2013): e027. http://dx.doi.org/10.3989/chdj.2013.027.

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Doğan, Setenay Nil. "From national humiliation to difference: The image of the Circassian beauty in the discourses of Circassian diaspora nationalists." New Perspectives on Turkey 42 (2010): 77–101. http://dx.doi.org/10.1017/s0896634600005586.

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AbstractThe Circassian Beauty, attributed to the women of the Caucasus, is a historical image of idealized feminine aesthetics that has prevailed in Orientalist literature, art and knowledge production as well as Turkish popular culture. This article argues that this image has been central to the gendered construction of diasporic identity among Circassian diaspora nationalists in Turkey. It aims to explore the multiple meanings attached to the image of the Circassian Beauty, and the ways in which these meanings are historically transformed in line with the political and historical transformations of the Circassian diaspora in Turkey.
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Iqani, Mehita. "Glitter, Shine, Glow." Cultural Politics 18, no. 1 (March 1, 2022): 79–94. http://dx.doi.org/10.1215/17432197-9516954.

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Abstract This article explores the ways in which patina is deployed in gendered celebrity culture, specifically through forms of visual communication in relation to luxury. The article is framed by literature on race and gender from apartheid to postapartheid, and texture in visual communication in relation to luxury in Africa. The author uses three magazine covers featuring beloved Black South African women celebrities to illustrate three aesthetics of Black feminine success: glitter, shine, and glow. Visually, the three patinas are linked and on the surface might seem indistinguishable, but a difference in positioning and ethic comes through in the discourse animated by each. Glitter is linked to the classic narratives of sexy fame, in which the woman featured is portrayed as the heteronormatively desirable archetype of fun and glamour. Shine is linked to a politicized ethic of visibility, the work of spotlighting presence, legitimacy, and excellence as a role model for a broader feminine community. Glow is linked to a narrative of feminine enlightenment and inner peace, in which beauty comes from within and radiates outward from the skin, and feminine aesthetic labor is harnessed to the project of transcending gross materialism while simultaneously using material cues to communicate that joyful transcendence.
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Gómez, Andrea. "What is “Asian” beauty? Chinese and South Korean racialized appearances in the Mexican and Peruvian makeup industries1." dObra[s] – revista da Associação Brasileira de Estudos de Pesquisas em Moda 38 (August 1, 2023): 95–117. http://dx.doi.org/10.26563/dobras.i38.1590.

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This article will try to answer, what is understood by “Asian” beauty in Latin America and how race, history and politics have decanted to the almost opposite reception of Chinese and South Korean aesthetics and corporalities. It is based on my research on beauty and the role of makeup in the negotiated construction of appearances. Firstly, I will explore the concepts of beauty and race brought by colonial imposition to the territories that would become Peru and Mexico. I will then explore how these were employed strategically to reinforce the oppression and discriminatory treatment of indigenous populations. In addition, I will focus on the current cosmetic offer from South Korea to the Mexican market, and the reception its versions of beauty have had within the past decade. Online trends helped to generate local demand of K-beauty makeup, one of the many South Korean industries involved in “soft power” politics.. Convergent definitions about health and youth are symbolic motors of its success; the racial bias applied to slim, light-skinned and traditionally feminine-looking bodies helps sell “Asian” beauty as inspirational. Afterwards, I will explore what informants identified as “Chinese”, whether they were referring to products or aesthetic presentations, and their distance from class and racial desirability. My argument follows the complicated treatment Chinese-descended people still encounter in Peru and in Mexico; including the ways my own body has been addressed and altered with makeup as a Chinese–Peruvian.
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Tan, Jiaxin, Pei Yang, and Zimo Wang. "Boys and Beauty: Male Makeup Influencers in Tik Tok A U.S. and China Comparison." Lecture Notes in Education Psychology and Public Media 2, no. 1 (March 1, 2023): 325–37. http://dx.doi.org/10.54254/2753-7048/2/2022476.

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Tik Tok, also known as Dou Yin in its Chinese version, has had a growing reputation in the social networking world since its launching in September 2016. While there are numerous content categories on Tik Tok that attract the many views and likes, beauty and skincare are within the top ten most popular content attracting billions of views. In what used-to-be female influencers dominated field, we witnessed the substantial growth of male makeup influencers with a proportion of them successfully integrated into the worldwide beauty market with high reputation and fame. The objective of this study is to analyze the differences between American and Chinese male makeup influencers as a means to reflect how they differ in aesthetic preference and social factors when creating beauty-related contents. This study employed a mixed-method with both content analyses of the Tik Tok posts as well as a structured scoring system for the appearance of the influencers. The results of the scoring are 7.1 for U.S. influencers and 7.2 for Chinese influencers. Both countries have a very similar feminine appearance with Chinese influencers resulting a slight higher scoring than U.S. influencers. The conclusion of this study rests on the fact that both American and Chinese influencers are emerging in this arena with their own definition of beauty using makeup and other beauty-related products; though they exemplified certain differences in aesthetics preference of appearance, they demonstrated a beauty revolution that is unseen before through social media which aim to challenge how the society perceive beauty and gender presentation.
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Perkins, Tiani R., Lucretia Monique Ward, Morgan C. Jerald, Elizabeth R. Cole, and Lanice R. Avery. "Revisiting Self-Objectification Among Black Women: The Importance of Eurocentric Beauty Norms." Journal of Black Psychology 49, no. 6 (November 2023): 868–96. http://dx.doi.org/10.1177/00957984221127842.

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Models of self-objectification utilized by the existing literature have been normed with predominantly White samples and may not account for the unique pressures on Black women to engage in beauty practices that prioritize European appearance expectations. Additionally mainstream media have historically rejected Black women’s bodies and beauty, instead reifying Western European aesthetics. We expand the existing literature by testing the contribution of body surveillance using serial analyses via endorsement of Eurocentric appearance norms (i.e., feminine appearance, thinness, and Eurocentric appearance), mainstream media consumption, mental health (i.e., depression, anxiety, and hostility), and body shame. Based on a sample of 561 Black women, combined serial/parallel mediation models revealed that total media consumption was not associated with body surveillance; however, there was an indirect effect of media consumption through acceptance of European body image norms predicting mental health and body shame. Findings suggest that to fully understand the impact of sexual- and self-objectification among Black women, researchers must also examine their negotiations of Western European norms of femininity and beauty. Implications for Black women’s body image beliefs are discussed.
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DIENG, Alioune. "La folie féminine dans l’univers capitaliste mauriacien." Revue Africaine de Communication Spécial, Aw (December 1, 2023): 199–225. http://dx.doi.org/10.61585/pud-rac-nsea6.

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The French novels of the 19th century and the first quarter of the 20th century are marked by a close relationship between writing and context, generally based on determinism and the psychology of the characters. François Mauriac is no exception to such a conception of romantic aesthetics, as evidenced by the novels, which retrace the life cycle of the heroine Therese Desqueyroux and revolve around the family nucleus, the forest economy, painting provincial customs, etc. In such a universe, the individual, in general, and the woman, in particular, unnecessarily go to war against the constraints of the environment. The dizzying decline of the rebellious character reveals all the beauty and greatness of his rejection. The objective of this article is therefore to show that the course of this character obeys certain poetics of feminine madness that can be identified with the help of criteria, in addition to those already mentioned by critics. These aspects of Mauritian writing already herald the impact of the impossible fitting of fragmentary soul shards in modern romantic aesthetics.
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Stevens, Erica. "Alice Dunbar-Nelson’s Charm Aesthetics and the Bugbear of Social Equality." MELUS 44, no. 3 (2019): 129–54. http://dx.doi.org/10.1093/melus/mlz034.

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Abstract Alice Dunbar-Nelson’s The Goodness of St. Rocque, and Other Stories (1899) plays with the diminutive description of “charming” often given to local-color writers in order to imagine alternative social relations in an era determined by modes of difference and exclusion. Charm—an aesthetic category most generally understood to be manipulative, feminine, and a distracting accessory to beauty—becomes the method supporting this collection’s challenge to the contemporary discourse of “social equality.” In the late nineteenth century, social equality was a distorted idea meant to accuse those pushing for civil rights of also seeking to eliminate individual choice from the social world and the public sphere or, at the most extreme, of advocating intermarriage of the races. In her short story collection, Dunbar-Nelson responds to the issue of social equality not directly but through her unique understanding of how literary form and character could charm readers into attachments beyond intersubjective desire or assured knowledge. Throughout The Goodness of St. Rocque, and Other Stories, her narrators mystify the reader’s search for knowledge and turn characters into resistant objects. Building on critical conversations about Dunbar-Nelson’s challenges to racial categorization, this essay explores the connections between aesthetics and politics in the early work of this writer, a writer who otherwise expressed a desire to maintain a distinction between those two goals for her fiction.
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Dissertations / Theses on the topic "Feminine beauty (aesthetics)"

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Poteet, George Anthony. "Perceptions of pretty people : an experimental study of interpersonal attractiveness." Online access for everyone, 2007. http://www.dissertations.wsu.edu/Thesis/Spring2007/a_poteet_050307.pdf.

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Mawhood, Rhonda. "Images of feminine beauty in advertisements for beauty products, English Canada, 1901-1941." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60562.

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This thesis is a study of magazine advertisements for beauty products in Canada between 1901 and 1941. It looks at the use of cosmetics and the growth of advertising in the context of the development of North American consumer culture, highlighting the role of gender in that culture. The period studied is divided in two by the mid-1920s to reflect changes in advertisers' views of consumers--from rational decision-makers to irrational creatures driven by their emotions--and in ideals of feminine beauty, as the use of cosmetics became an essential part of the ideal perpetuated by advertising. The thesis attempts to show the link between business history and cultural history by demonstrating how marketing professionals co-opted cultural trends in order to create effective advertising, and how traditional relationships and values were modified by the purchase and use of mass-marketed goods.
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MEDEIROS, SERGIO. "BEAUTY AND DEATH: A PSYCHOANALYTIC APPROACH ON AESTHETICS AND THE FEMININE SUBJECT." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2005. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=6712@1.

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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
Construindo a hipótese de que a estética é uma estratégia para mitigar a angústia e consubstanciar o desejo, o autor busca estabelecer seu estatuto para o aparelho psíquico. No campo do sujeito, a estética participaria do nasrcisismo primário, momento em que a constituição do Eu é testemunha por uma imagem que dá materialidade ao sujeito e à presença da alteridade. Desenhar um perímetro para o vazio e poder vê-lo é atribuir sentido à existência e conter a angústia da morte. A estética também serviria à causa do desejo. Das cenas do sonho manifesto à imagem do objeto erótico, o desejo não pode dispensar a forma que constituirá o conteúdo de sua ilusão. Caberia a estética apresentar os contornos do recalcado e resgatar a criatividade da polimórfica perversão infantil. Através das obras-de-arte, o autor apresenta a estética como uma relação entre os sujeitos, intermediada pela angústia e pelo desejo. Investigando o sentido da busca pela estética designada como bela, analisa-se o papel desta na atualidade. Tendo como foco a subjetividade feminina contemporânea, o autor destaca sua dupla relação com a imagem. Se há, de um lado, um discurso estético enunciado pela mídia constituindo um corpo destinado ao consumo haveria, por outro, um mandamento estético proferido pelo superego feminino impondo o olhar do Outro como compensação ou negação da castração. O autor conclui sua abordagem do que designou como Doenças de beleza identificando dois grupos distintos um formado por sujeitos que buscam a morte do corpo como estratégia de sobrevivência do Eu. E outro, constituído pelos aderentes à mensagem estética contemporânea e adictos à visibilidade.
In order to build up the hypothesis that aesthetics is a strategy to alleviate anguish and to consubstantiate desire, the author seeks to set up a statute for the psychic system. In the field of the subject, aesthetics would be part of the primary narcissism, a moment when the formation of the Ego is witnessed by an image that lends materiality to the subject and to the presence of alterity. To design a perimeter for the void and to be able to see it is to bestow sense to existence and to restrain the anguish of death. Aesthetics would serve the cause of the desire. From scenes of manifest dreams to the image of the erotic object, desire can not dispense with the shape which will grant form to its illusion. It would be incumbent on aesthetics to present the configurations of the repressed and to redeem the creativity of the polymorphic infantile perversion. By means of works of art the author presents aesthetics as a relation between the subjects, mediated by anguish and desire. Investigating the sense of the quest for aesthetics regarded as beautiful, one analyses its role at the present time. Using as a focus the contemporaneous feminine subjectivity, the author points out its double relation with image. Whereas, on one hand, there is an aesthetic discourse expressed by the media making up a body intended for consumption, on the other hand there would be another, an aesthetic commandment stated by the feminine superego imposing the regard of the Other as compensation for or negation of castration. The author concludes his approach of what he named as Infirmities of Beauty by identifying two distinct groups, one made up by subjects who seek the death of the body as a strategy for the survival of the Ego. And another made up by those who adhere to the contemporaneous aesthetic message and are addicted to visibility.
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Lau, Man-chu Sunny, and 劉敏珠. "Postmodernism and semiotics: the tyranny of images of beauty on the female body and postmodern feminist resistance." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31950644.

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Lau, Man-chu Sunny. "Postmodernism and semiotics : the tyranny of images of beauty on the female body and postmodern feminist resistance /." [Hong Kong] : University of Hong Kong, 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13787305.

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Boyd, Elizabeth Bronwyn. "Southern beauty : performing femininity in an American region /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.

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Greene, Saara. "Breast cancer : the social construction of beauty and grieving." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23980.

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Coming to terms with breast loss and its effect on body image, femininity and self-esteem are major issues confronting women who have lost a breast to cancer. Furthermore, messages from the media, cosmetic industry and health care profession perpetuate the 'beauty myth' affecting the self-esteem of breast cancer patients. This emphasis on the aesthetic often takes precedence the grief associated with losing a body part that for many women is strongly linked to their self-concept. Based on interviews with nine breast cancer survivors in Winnipeg, Manitoba and Montreal, Quebec, three issues will be addressed: first how the cultural influences that support and perpetuate the 'beauty myth' affect breast cancer survivors; how, as a result of this issue, the grieving process is hindered and third, the experiences of women treated for breast cancer within the medical system. Implications for social work will also be discussed.
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Crossley, Elizabeth Ellen. "Changes in the image of the feminine from Giotto to Raphael." Thesis, Rhodes University, 1985. http://hdl.handle.net/10962/d1009448.

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From Introduction: The ideal of femininity which developed in Renaissance painting, was a visual and psychological type which was to become the Western European Christian formula of the feminine. This type has survived until the present day, so a discussion of its origins can be revealing for us in the twentieth century, especially as it has been neglected in traditional art historical works. In this essay, the changes in the image of the feminine, in just under three hundred years of Florentine painting, starting with Giotto1. and ending with Raphael~· will be covered. The images will be taken from the wo rk of artists who were Florentine in training, who worked in the city or who were strongly influenced by the Florentine style of painting. I have divided the paintings I have studied into three sections. In the Religious section the paintings are mainly of Mary. The Mythological images refer to Greek and Roman myths and the humanistic interpretations of them. Finally, the Portrait and Genre images are selected on the following basis: In the genre paintings they are sometimes part of works related to religion or mythology, but, in their handling, the painters treat the figures as real human beings rather than holy or mythological figures. In others they are bona fide portrait representations. 3. I have made the above distinction because I expect that the gap between religio-mythological images and portraits will give some indication of the difference between the ideal and the reality for women of that time. The images will be analysed and changes noted in favoured types, gestures, expressions, movements, placing in the composition, relationships to others, favoured themes, costume, colour and symbols. I will point out as I proceed the effects that these elements had on the mood and tone of each image.
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Holloway, Hannah R. "The thin ideal : the role of positive and negative expectancies /." Read thesis online, 2009. http://library.uco.edu/UCOthesis/HollowayHR2009.pdf.

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Myers, Cerise Joelle. "Between the folly and the impossibility of seeing Orlan, reclaiming the gaze /." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1143500239.

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Books on the topic "Feminine beauty (aesthetics)"

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Steiner, Wendy. The trouble with beauty. London: Heinemann, 2001.

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Han, Byung-Chul. Arŭmdaum ŭi kuwŏn: Die Errettung des Schöne. Sŏul: Munhak kwa Chisŏngsa, 2016.

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Gundle, Stephen. Bellissima: Feminine beauty and the idea of Italy. New Haven, CT: Yale University Press, 2007.

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Qingzhu. Nü xing mei de yan jiu. [Beijing: Beijing zhong xian tuo fang ke ji fa zhan you xian gong si, 2012.

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Savacool, Julia. The world has curves: The global quest for the perfect body. [Emmaus, Pa.]: Rodale, 2009.

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Mishra, T. N. Feminine beauty in Indian art and literature. New Delhi: D. K. Printworld, 2007.

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Tate, Shirley Anne. Black beauty: Aesthetics, stylization, politics. Aldershot, Hants, England: Ashgate, 2008.

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Kyŏng-suk, Pak. Chosŏn sidae miin ŭi kwansanghak. Kyŏnggi-do P'aju-si: Han'guk Haksul Chŏngbo, 2018.

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Nakamura, Usagi. Bijin to wa nani ka?: Biishiki kajō supairaru. Tōkyō: Shūeisha, 2009.

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Jādū, ʻAbd al-ʻAzīz. Alwān min al-jamāl wa-al-ghazal. al-Qāhirah, J.M.ʻA: Dār al-Maʻārif, 1988.

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Book chapters on the topic "Feminine beauty (aesthetics)"

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Phadke, Shilpa. "How to Do Feminist Mothering in Urban India? Some Reflections on the Politics of Beauty and Body Shapes." In Aesthetic Labour, 247–61. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-47765-1_14.

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Giles, Jana M. "‘Beauty Does Not Own Itself’: Coetzee’s Feminist Critique of Platonic and Kantian Aesthetics." In Reading Coetzee's Women, 87–109. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19777-3_6.

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"FEMALE BODILY AESTHETICS, POLITICS, AND FEMININE IDEALS OF BEAUTY IN CHINESE TRADITIONS." In Bodies in China, 113–38. The Chinese University Press, 2017. http://dx.doi.org/10.2307/j.ctvbtzns0.13.

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Kupchenko, Tatiana A. "Love as a “Cruel Muse”: The Role of Aestheticism of O. Wilde in the Gender Perspective of the Poem by V. Mayakovsky About That." In Femininity and Masculinity in the Modernist Culture: Russia and Abroad, 82–102. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0740-3-82-102.

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The article considers the phenomenon of love and relations between the sexes in the work of V. Mayakovsky through the prism of the complex of Wilde’s motives in the poem About That. Life and works of O. Wilde, perceived in the light of the ideas of suffering and total aestheticism, were in this period close to Mayakovsky’s life-creating myth. The poet imposes the Wilde’s “filter” on his own life situation, using it to translate the facts of reality into literature. The motives of the letter-diary of Mayakovsky written in the period of creating the poem About That and a letter by O. Wilde to A. Douglas De Profundis, written during the poet’s imprisonment in Reading Gaol, are compared. The article contains the analysis of Wilde’s ideology of aestheticism and Mayakovsky’s provocative manner of behavior in the period of early futurism. It is shown that the search for the foundations for building more perfect relationship between the sexes is related in both writers to the reflection of the masculine and the feminine in a person. Sensitivity expressed through “non-canonical” for men emotions of softness, tenderness (“a cloud in trousers”), indecision, is recognized as associated with the manifestation of the feminine in a male. The “feminine” part of the soul helps men in the interactions with the Creator, but also puts them in conflict with society (see motives of prison, court, death). For both Mayakovsky and Wilde, suffering as the other side of love and its aesthetics introduce the motive of cruelty of the beloved (manifestation of masculine nature). The connection of Suffering and Beauty justifies cruelty (About That, The Ballad of Reading Gaol, the letter-diary). Beauty as the highest manifestation of the idea of Love allows Mayakovsky to place the beloved in Paradise, and Wilde to write a ballad accepting the deadly power of love.
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Narayanan, Amrita. "Aesthetic Arrests." In Women's Sexuality and Modern India, 71—C5.P94. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192859815.003.0005.

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Abstract Aesthetics—the emotional response to products of the imagination—exercises a demand upon sexual agency that can be counter-directional to what is popularly considered ‘agential’. This chapter examines heterosexual aesthetics in Indian—such as sexual reverence and the wish to serve a male sexually—that have historically rankled the autonomous conceptions of feminism. The chapter introduces the portmanteau term ‘aesthetics of sexuality’ to refer to the particular set of unconscious identifications that a given person finds sexually arousing and satisfying. It describes how aesthetics of women in Sanskrit and Tamil poetry portray sexual modesty, beauty, and attractiveness as valued psychological characteristics. Using examples it evaluates how these aesthetics represent a form of continuity for some women and a form of oppression for others. The chapter emphasizes that a demand for a unitary ‘card carrying’ feminist aesthetic nullifies the sexual lives of women who have embraced patriarchal sexual aesthetics.
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DeLucia, JoEllen. "Stadial Fiction or the Progress of Taste." In A Feminine Enlightenment. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748695942.003.0005.

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The final chapter argues that the questions about women and the civilizing process first raised in the relatively elite milieu of Montagu’s Bluestocking salons migrated into the popular fiction of the Romantic era, shaping conversations about women and historical progress into the nineteenth century. The term conjectural fiction borrows from Dugald Stewart’s term “conjectural history,” which describes the stadial method of historiography developed during the Scottish Enlightenment. Conjectural fiction highlights Regina Maria Roche and Maria Edgeworth’s use of the feminine and aesthetic categories of delicacy, elegance, and beauty to gauge changing historical and economic conditions in their fiction. This comparative approach to charting progress also migrated into aesthetic theories from the same period, including Hugh Blair’s Lectures on Rhetoric and Belles Lettres (1783), Lord Kames’s Essay on Criticism (1762), and Dugald Stewart’s Essay on Taste (1810).
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"A Creative Turn to the Body." In Visual Disobedience, 78–131. Duke University Press, 2024. http://dx.doi.org/10.1215/9781478059608-003.

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An emergence of performance art in postwar Central America facilitated a critical approach to gender, sexuality, and desire beyond the right-/left-wing rhetoric of decades prior. Through embodied acts, artists expose the coloniality of gender and unravel how heteropatriarchal culture and misogyny are embedded in the multiple structures of violence and policing that target women and nonheteronormative and gender nonconforming people in Central America. Themes in art include feminicide and impunity, interpersonal violence, neoliberalism, rape of body and lands, anti-Indigenous and anti-Black racism, Western canons of beauty and body image, and homophobia and transphobia. Exposing these intersectional oppressive systems illuminates the context of displacement and migration for thousands of women and nonbinary or nonheteronormative people seeking asylum. These artists expand the parameters of a feminist aesthetics from decades earlier with a feminist visual disobedience centered on embodied agency that is both antipatriarchal and anti-colonial.
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"Looking Strategically: Feminist and Queer Aesthetics in “Beauty and Ugliness” and Sight and Song." In Women’s Literary Collaboration, Queerness, and Late-Victorian Culture, 59–96. Routledge, 2017. http://dx.doi.org/10.4324/9781315233505-3.

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Elkins, Amy E. "Collage and Queer Embodiment." In Crafting Feminism from Literary Modernism to the Multimedia Present, 169–200. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192857835.003.0009.

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Abstract This chapter investigates the significance of collage to feminist experimentation and queer embodiment. It weaves together a study of Ali Smith’s writing as a theorist, art critic, and novelist in the context of feminist collage with art by Pauline Boty who was, during her short life, considered Britain’s only female pop artist. Autumn, Smith’s 2016 novel, set—and published—in the wake of the Brexit vote, revitalized interest in Boty and connects collage aesthetics to the queer edges of resistance. This chapter tracks Boty’s craft media and subversive political processes, looking at how Smith uses collage as a framework that dramatizes the ruptures and repairs between nations and individuals, as well as between the personal and the political. Smith writes her characters into the political friction of the late-twentieth and twenty-first centuries, layering creative storytelling with unflinching critiques of nationalism and xenophobia, environmental crises, academic and institutional gatekeeping, surveillance and technology, and the challenges to women’s archives and the patriarchal timeline of canonical history-making. At the same time, this chapter traces a celebration of queer domestic life, the beauty and persistence of art, and the feminist practice of remaking and repairing the timeline of women’s creative agency across media.
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Conference papers on the topic "Feminine beauty (aesthetics)"

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Dimitrakopoulou, Georgia. "WILLIAM BLAKE�S AESTHETICS IN THE MYTH OF THE ANCIENT BRITONS." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s10.16.

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William Blake�s aesthetic vision of the secular world is based on divine inspiration. In the myth of The Ancient Britons, he discusses the three aesthetic categories of the sublime, the beautiful and the ugly. These establish his theory of art, which is based on Jesus the Imagination. The sublime, the beautiful and the ugly are forms indicative of gradations of divine influx in every individual. In this sense, the myth explicitly describes and distinguishes the three aesthetic categories that shape the secular and eternal human existence. It also concerns art and the role of the artist. Art is imagination and communication, and the artist is the inhabitant of that happy country of Eden. [1]. The artist is motivated by creative imagination, whose aesthetic quest starts from divine inspiration and ends in eternity. The true artist is the man of imagination, the poetic genius and the visionary aesthete. For Blake, imagination is a sublime force, the major aesthetic category of his vision and relates to the Strong man of The Ancient Britons. In addition, beauty is a distinct aesthetic category essential and supplementary to the formation of the Sublime of Imagination, Jesus incarnated, the archetype of Blake�s Strong man. He [Blake] distinguishes the three aesthetic categories of the sublime, the beautiful and the ugly by their actions, which define man. As he claims: �The Beautiful man acts from duty, whereas The Strong man acts from conscious superiority, and The Ugly man acts from love of carnage.� [2]. Starting from the conviction that antiquity and classical art provided obsolete models for emulation, Blake concluded that since the mathematic form is not art, it should not be the rule of the English eighteenth century art. Gothic, which is the living form, represents the union of the secular and divine worlds. The gothic artistic style is the incarnated Jesus, the Sublime of Imagination, Blake�s aesthetic apex, that is the supreme aesthetic category of his vision. The sublime and the beautiful are not contraries. They are supplementary aesthetic forms which contribute to the understanding of art. Beauty and intellectuality identify. Moreover, beauty is the power, the energizer of the true artist. Who is the human sublime? He is �The Strong man� who acts from conscious superiority, according to the divine decrees and the inspired, prophetic mind. Who is �The Beautiful man�? He is the man who acts from duty. Lastly, �The Ugly Man� is the man of war, aggressive, he/she acts from love of carnage, approaching to the beast in features and form, with a unique characteristic, that is the incapability of intellect. [3]. Undoubtedly, Blake�s aesthetic vision presents many difficulties in interpretation. In my opinion, the sublime is not an aesthetic category and/or a mere value that Blake uses randomly without artistic reference. His aestheticism is secular and aspiring to perfection. The secular sublime, which describes the fallen human state, suggests the masculine and feminine experience of the Fall. Consequently, the human situation appears doomed and irredeemable. If the sublime is the masculine and pathos the feminine forms, Blake assumes that the inevitability of reasoning and suppression of desire, whose origin is energy, brings about their separation and incompleteness. In a non-communicative intercourse, the sublime (masculine) and the beautiful (pathos) are apart. These are the fallen state�s consequences. As the masculine and feminine are not contraries but supplementary forms, so the sublime and pathos are potentially integrated entities. In eternity, the sublime and pathos are joined in an intellectual androgynous form. This theoretical idea is the core of Blake�s aesthetic �theory�. In fact, his aesthetic realism does not overlap his aesthetic idealism. He is optimistic, despite Urizen�s - reason�s predominance. The artist is the model of human salvation. Imagination is a redemptive force, �Exuberance is Beauty�, and the incapability of intellect is �The Ugly Man�. The three classes of men, the elect, the redeemed and the reprobate juxtapose to the sublime, beautiful and ugly. These are restored to their true forms and their qualities are reinstated in infinity. All human forms are redeemable states, not static but progressive, even if their fulfilment on earth is improbable.
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Dimitrakopoulou, Georgia. "WILLIAM BLAKE�S: THE BOOK OF THEL. THE AESTHETIC VERSUS THE USEFUL?" In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s10.23.

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In The Book of Thel (The Book of ????, that is The Book of the Female), Blake�s main preoccupation, in my opinion focuses on the juxtaposition between the aesthetic and the useful, their antithesis and their synthesis to produce and explain the female identity. Knowing that Blake�s thought always moves in oppositional and synthetical structures, the useful versus the aesthetic is nothing more than the restless and perpetual fight of the dualisms of innocence and experience, energy and Urizen, imagination and reason. Taking into consideration that Blake�s dualisms are constructive rather than destructive, in The Book of Thel, he wonders and oscillates between the aesthetic and the useful. He attributes an indefinite, unclear kind of beauty to Thel, which is a progression of his thought since The Marriage of Heaven and Hell, where he associated the organs of reproduction with beauty, �the genitals Beauty�, the sublime and the beautiful together, that is the head and the genitals, a confirmation that �Man has no Body distinct from his Soul ��. This progression of his thought relates to the formation of what is commonly called beauty (aesthetic value), an ethical feminine development in contradistinction to use value the necessity of survival: �� without a use this shining woman liv�d, / Or did she live. to be at death the food of worms.� Nevertheless, the issue seems problematic. Thel, �the daughter of beauty,� finally is the �� beauty of the vales of Har.� (Har in Greek mythology, that is ????? is the ferryman who carried the dead to the underworld and the etymology of the word Har (X??-??) is an euphemism of the verb ?????, meaning enjoy, take pleasure in), thus signifying quite the opposite; that is the death of the aesthetic possibly in favour of the useful. Thel lives in a world of uselessness, depression, and oblivion. Thus, Blake�s Har and the Greek Har introduce death as Thel�s ultimate refuge. The question is: is Thel after having rejected the (her) use value, a mere aesthetic value belonging to Har? Or her aesthetic value in the real world, the world of experience equals death?
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