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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Kalender, Gulcin Ipek. "The Semiotic Analysis of Cosmetic Advertisements on Facebook." Advances in Social Sciences Research Journal 7, no. 12 (January 10, 2021): 658–71. http://dx.doi.org/10.14738/assrj.712.9528.
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The cosmetic industry is one of the major industries in the world, and it continually enhances with the current high-technology developments in the sector. Just from the very early ages, young girls have a curiosity about trying their mother’s make-up products and they satisfy their curiosity by doing make-up to their dolls. When girls become young women, they start trying a variety of cosmetic products and they wear make-up in order to look attractive for the opposite sex. Wearing make up helps women to feel content about their physical appearance. It increases the self-confidence of women and makes them happy, as it is a pleasurable activity. The cosmetic industry offers products, which are in abundance according to the taste of each women coming from different ranks in society. It surrounds women with cosmetic advertisements and draw their attention in the fashionable districts of the city, at shopping malls and through certain media tools such as women’s magazines and social media. The cosmetic industry is a part of the consumer culture, and it is also closely related with the ideal feminine beauty. It disseminates messages through advertisements that every woman should use cosmetic products in order to reach the ideal beauty, which is desired. This paper aims to portray how the white ideal beauty is portrayed on the Facebook pages of three cosmetic brands representing different characteristics in terms of class, social status, lifestyle, and aesthetics.
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Harris, Leigh Coral. "FROM MYTHOS TO LOGOS: POLITICAL AESTHETICS AND LIMINAL POETICS IN ELIZABETH BARRETT BROWNING’S CASA GUIDI WINDOWS." Victorian Literature and Culture 28, no. 1 (March 2000): 109–31. http://dx.doi.org/10.1017/s1060150300281072.
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@FP = CHARLES DICKENS ADAMANTLY DECLARES he will not indulge in “any grave examination into the government or misgovernment of any portion” of Italy, because “that beautiful land” requires only aesthetic reflections that “have ever a fanciful and idle air” (1); and John Ruskin relentlessly insists on turning attention away from the action in the Italian streets and inward toward the motionless stones of buildings, because Venice, “Queen of Marble and of Mud,” has no political dimension (“Stones of Venice” 9: xxix). Elizabeth Barrett Browning, by contrast, masterfully tackles the problem of the emerging nation’s political image in Victorian England. These comments by prominent Victorian men of letters reflect the conventional British formulation of Italy through the nineteenth century “as the locus of the feminine and silent properties of space, painting, nature, and the body — a place outside of history where temporal motion had ceased” (Bailey 94).1 Indeed, a commonplace implicit in the British definition of pre-national Italy is the idea of la bella Italia as apolitical and even ahistorical. But from 1815 onwards, as Italians became increasingly dissatisfied under their new Austrian rulers, the British equation between Italy and art, Italy and beauty, became increasingly out of touch with the Italian republican movement.2
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Erkal, Melis Mulazimoglu. "The Cultural History of the Corset and Gendered Body in Social and Literary Landscapes." European Journal of Interdisciplinary Studies 9, no. 1 (October 6, 2017): 153. http://dx.doi.org/10.26417/ejis.v9i1.p153-153.
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This study centers on the significance, uses and changes of the corset in the Western culture and literature through a study of body politics, culture and fashion. The emplacement of corsetry in the West as an undergarment goes back to 1600s. Research shows that the study of corsetry is important as the corset has been a permanent, pervasive, popular object preferred mostly by women from different classes, sometimes by men and even children since the Middle Ages. Moreover, it is important to notice how the corset has gone beyond its use value and has become first a symbol of rank and elegance, then of female oppression and victimization and finally a symbol of sexual empowerment and feminine rebellion in contemporary time. Popular critics of the field state that the corset today is far beyond its earlier restrictive usages and negative meanings as the garment today has become a favored item in fashion industry and preferred by celebrity icons all around the world. The corset at present is an outerwear, art object and ideological construct. So, what makes the corset so popular and everlasting? The study on corsetry yields to a critique of Western culture from socio-political perspective as well as through body politics and gender studies. In that respect, this work aims to explore how corsetry in past and contemporary time exists as an essential part of patriarchal ideology, influencing social and literary landscapes and borrowing from the beauty aesthetics, thus creating the idealized feminine of each century.
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Erkal, Melis Mulazimoglu. "The Cultural History of the Corset and Gendered Body in Social and Literary Landscapes." European Journal of Language and Literature 9, no. 1 (June 10, 2017): 109. http://dx.doi.org/10.26417/ejls.v9i1.p109-118.
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This study centers on the significance, uses and changes of the corset in the Western culture and literature through a study of body politics, culture and fashion. The emplacement of corsetry in the West as an undergarment goes back to 1600s. Research shows that the study of corsetry is important as the corset has been a permanent, pervasive, popular object preferred mostly by women from different classes, sometimes by men and even children since the Middle Ages. Moreover, it is important to notice how the corset has gone beyond its use value and has become first a symbol of rank and elegance, then of female oppression and victimization and finally a symbol of sexual empowerment and feminine rebellion in contemporary time. Popular critics of the field state that the corset today is far beyond its earlier restrictive usages and negative meanings as the garment today has become a favored item in fashion industry and preferred by celebrity icons all around the world. The corset at present is an outerwear, art object and ideological construct. So, what makes the corset so popular and everlasting? The study on corsetry yields to a critique of Western culture from socio-political perspective as well as through body politics and gender studies. In that respect, this work aims to explore how corsetry in past and contemporary time exists as an essential part of patriarchal ideology, influencing social and literary landscapes and borrowing from the beauty aesthetics, thus creating the idealized feminine of each century.
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Hussain, Heena. "The Surveillance of Blackness in the Kardashians' Wellness Empire." Review of International American Studies 15, no. 1 (June 15, 2022): 107–25. http://dx.doi.org/10.31261/rias.12748.
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Keeping up with the Kardashians depicts the lives of the Kardashian clan through reality television. The unparalleled success of five sisters managed by their mother has only continued to increase over time along with their participatory self-surveillance through their formidable use of social media. In recent years, a focus on health and wellbeing has led the sisters to endorse products for weight loss and health, using their bodies as spaces of commodification and advertisement online. The family’s interaction with the camera, and the aesthetics of their social media cross-promotions combine to present an open “honest” front promoting the replication of their success and beauty for their audiences. The sisters engage with blackness in a way that bolsters their claims of capacitating and beautifying white feminine subjects, engagements now commonly termed “blackfishing.” This article analyzes how the Kardashians have created an intense regime of self-surveillance, even dabbling self-consciously in the carceral state's techniques for surveilling blackness, to construct themselves as both uncommonly, exotically sexual ('baring all') and respectable enough (white or white passing) to sell various remedies with dubious health value.
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Vasko, Elisabeth. "Redeeming Beauty? Christa and the Displacement of Women’s Bodies in Theological Aesthetic Discourses." Feminist Theology 21, no. 2 (December 17, 2012): 195–208. http://dx.doi.org/10.1177/0966735012464151.
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This article adopts Edwina Sandys’ Christa as a hermeneutical lens through which to expose new dimensions about the interplay between aesthetics and redemption in the Christian tradition. Contemporary theological aesthetic discourses have ignored ugliness and its causes, especially the patriarchal ways in which Christian tradition has been used to sanctify violence against women. The issue of gender injustice takes on a heightened significance in light of recent claims surrounding the beauty of the cross. As a subversive aesthetic feminist representation, Christa exposes the patriarchal dimensions of such constructions and calls for a new vision of aesthetics – one that begins with women’s experiences of suffering and salvation.
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Yang, Su Mi. "A Study on the Aesthetic Properties of Feminism Make-up in Cindy Sherman's Instagram Selfie." Journal of the Korean Society of Cosmetology 27, no. 4 (August 31, 2021): 998–1011. http://dx.doi.org/10.52660/jksc.2021.27.4.998.
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Feminism sheds light on women's identities in a variety of ways, along with criticism of gender discrimination and male-centered thinking. In particular, Cindy Sherman's selfie, known as a feminist photographer, expresses various women's images, showing a new identity of women. This study examined feminism makeup that expresses women's self-identification in the recent emergence of Me Too and feminism, and analyzed feminism makeup in Cindy Sherman's self-portrait to find out its aesthetic characteristics. First, the nature of Cindy Sherman's feminism makeup was expressed as dominant masculinity. Through various typical forms of beard, he strongly emphasized masculinity, and his eyebrows were thick and dark, and his facial contour was manly. The beard is a symbol of masculinity and a facial expression of social status and character, so Cindy Sherman actively expresses herself as a feminine figure with feminism makeup. Second, Cindy Sherman's characteristics of feminism makeup expressed the characteristics of benignity, which are caused by the confusion of femininity and masculinity. It emphasizes a positive image to exaggerate the image of a man with feminine features and a manly hairstyle and long, voluminous eyelashes. This positive image can also be seen in postmodernism Androgenus look or Genderless look, and is also the best characteristic of feminism makeup. Third, Cindy Sherman's feminism makeup characteristics had the characteristics of typistic femininity. She expresses her female identity through the image of a powerless and shabby woman by turning herself from a young movie star to an old woman. Fourth, Cindy Sherman's feminism makeup characteristics express the characteristics of detachment with ugly beauty. Such makeup is unstable in shape, and there are many distorted or modified images, but Cindy Sherman's selfies also showed this ugly look of herself. Fifth, Cindy Sherman's feminism makeup is bizarre and gives grotesque horror in the form of witches or vampires. Witches and vampires, who lack femininity, expressed feminism not in the image of women obedient to patriarchal men, but rather in horror. Sixth, Cindy Sherman's characteristic of feminism makeup is to portray herself as a clown or a clown, or a clown, to represent a caricature. Sherman's clown series is already well known for its makeup that shows feminism in women. The clown always smiles in the costume, but the inner figure symbolizes the repressed and sad woman herself and is an expression of Sherman's own image.
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Yi, Sitian. "The Embodiment and Effects of Feminism in Disney Films in the 20th and 21st." BCP Social Sciences & Humanities 21 (February 15, 2023): 232–37. http://dx.doi.org/10.54691/bcpssh.v21i.3483.
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With the rise of feminism, the female characters in Disney's animated films break away from the original female stereotypes. The feminist content in Disney has evolved with the wave of the feminist movement. More and more brave, astute and independent female characters appear in movies. Compared with the simple princess movies, which tell the story of the elegant but weak princess who is rescued by the prince, these new female characters reflect the change of people's thoughts. These feminist contents promote the concept of gender equality, show the diversity of women's beauty, and deepen people's self-affirmation. However, some evidence shows that Disney characters have deformed aesthetics and tend to cause unhealthy body control. But people can improve this problem by being tolerant of beauty’s distance and paying attention to the beauty within. Parents can also guide their children to learn about women's rights in movies so that the improved Disney movies can play a more positive role.
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Wolff, J. "Groundless beauty: feminism and the aesthetics of uncertainty." Feminist Theory 7, no. 2 (August 1, 2006): 143–58. http://dx.doi.org/10.1177/1464700106064407.
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Lintott, Sheila. "Feminist Aesthetics and the Neglect of Natural Beauty." Environmental Values 19, no. 3 (August 1, 2010): 315–33. http://dx.doi.org/10.3197/096327110x519853.
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Alanazi, Meshari S. "Challenging social standards." Linguistics and Culture Review 5, S2 (June 30, 2021): 1594–604. http://dx.doi.org/10.21744/lingcure.v5ns2.2229.
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Prior to the evolution of the Black Arts Movement, the concept of “beauty” in the United States relied on specific standards, among which were being white and having blue eyes. However, this narrow definition changed over time as sociopolitical factors affected such concepts. Therefore, it is not surprising that the Black Arts Movement affected and changed the concept of beauty among Black Americans. African Americans stood not against white individuals but against everything that was unjust toward them in white American society. As a result, the literary works created by Black writers had to be built on either a political or an aesthetic framework. This paper examines the standards of beauty in The Bluest Eye and discusses the novel’s ideological tone and its references to the Blues, Black aesthetics and Black feminism. The novel was published in the middle of the Black Arts Movement era, and it satisfies the Black Art Movement’s major concern, which is how the work of art can help African Americans live a better life. Morrison’s novel highlights the concept of beauty at the time and how to change it among Black Americans.
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Song, Zirong, and Wenjing Deng. "Aesthetic Evolution of Female Characters in Animated Films." Philosophy and Social Science 1, no. 1 (January 2024): 78–84. http://dx.doi.org/10.62381/p243115.
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Human aesthetic ideas on beauty are the result of long-time sexual selection. These aesthetic ideas are not only determined by human instinctive preferences, but also by social factors. The social, cultural, and historical differences between China and the United States lead to the differences in female characters portrayed in animated films. By examining the female characters presented in animated films in China and the United States since, this paper reveals the aesthetic evolution of female characters in Chinese and American animated films from the perspective of feminism, and discusses the social, cultural, and historical reasons. Our findings suggest that although both China and America tended to categorize their female animated figures simply into “demon” or “angel” groups before 1990, the improvement of women’s social, economic and political status has made female characters more diverse and dominant in the films. In comparison, American animated films is universal and adopts a stronger feminist approach, presenting us female characters of diverse races and ethnicities.
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Szychta, Pawel. "Achieving Harmonious Feminine Proportions: A Comprehensive Study on Breast Harmonization with Nanotextured Implants." Plastic and Reconstructive Surgery - Global Open 12, no. 4 (April 2024): e5751. http://dx.doi.org/10.1097/gox.0000000000005751.
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Background: The prevalence of breast augmentation as a strategy for achieving idealized feminine proportions, consistent with contemporary beauty standards, has increased notably. This study focuses on the use of nanotextured implants, examining their efficacy in enhancing body symmetry and conforming to current aesthetic ideals. Methods: Conducted as a prospective cohort study, this research included women who underwent breast augmentation using nanotextured ergonomic implants from 2017 to 2023. A personalized methodology was applied, incorporating an array of anthropometric measurements and individual motivations to inform the selection of implants. The techniques used aimed at fostering a natural aesthetic, coupled with an extensive postoperative follow-up to evaluate outcomes and identify any complications. Results: The study involved 1000 participants, with findings indicating a marked improvement in breast and overall body proportions, in line with targeted aesthetic principles. High levels of patient satisfaction were observed, with more than 90% reporting favorable aesthetic results and a low incidence of complications. These findings emphasize the effectiveness and safety of nanotextured implants in achieving the desired aesthetic goals. Conclusions: The study underscores the efficacy of nanotextured implants in attaining balanced feminine proportions, aligning surgical results with modern beauty ideals and enhancing personal well-being. It highlights the significance of a tailored approach in breast augmentation, which encompasses not only the physical aspects of aesthetic enhancement but also the psychological and social facets of patient contentment.
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Telnoni, Wike Yuciana. "Analisis Reflektif Teologi Estetika John Navone." Matheteuo: Religious Studies 2, no. 2 (January 5, 2023): 101–13. http://dx.doi.org/10.52960/m.v2i2.154.
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ABSTRACT:
The presence of the media as one of the determinants of ideal body standards in self-esteem and beauty is a product of popular culture that has been created for a long time The ideal body standard is constructed through products from well-known brands advertised by Selebgram, influencers and celebrities through social media platforms. One standard of beauty and body beauty displayed by them is to have white skin. Women who have white skin are considered to have privileges, luxury, cleanliness and show an auara of beauty. One of the product that is being advertised, namely the Scarlett Whitening product, most women have reconstructed their minds so that being beautiful and beautiful does not have to be white. The author argues that basically true beauty and beauty can be achieved if we are not attached and able to respect ourselves as we were created by looking at the point of view of feminist criticism and aesthetic theology by John Navone.
Key words: Advertising, Aesthetic Theology, Feminist, Social media, Women.
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Wang, Shuchen. "Fashioning Chinese feminism: Representations of women in the art history of modern China." Critical Studies in Fashion & Beauty 12, no. 2 (December 1, 2021): 207–27. http://dx.doi.org/10.1386/csfb_00027_1.
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Artworks record history. The images of women’s fashion and beauty presented in the art history of modern China illustrate explicitly the challenging, changing and circuitous development of women’s rights and feminism in the country. In this study, I analyse and contextualize the most widespread representations of Chinese ‘modern women’s fashion’: (1) the geisha-like ladies of news illustrations before the 1911 Revolution, (2) the poster-calendar girls in the republican aesthetics of an early commercial society, (3) the papercutting folk art that profiles ‘half the sky’ in the uniform aesthetics of Marxist‐Leninist‐Maoist propaganda, (4) the gender-specific art themes and materials applied by female artists after the opening-up policy and (5) the feminist art in the Chinese contemporary art world. The resulting analysis helps to elucidate the interconnections among fashion, art and women’s status in China, in pursuit of modernity, the radical expansion of western colonization, domestic political turmoil and, in particular, longstanding patriarchal cultural norms and values.
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Michna, Natalia Anna. "From the Feminist Ethic of Care to Tender Attunement: Olga Tokarczuk’s Tenderness as a New Ethical and Aesthetic Imperative." Arts 12, no. 3 (May 4, 2023): 91. http://dx.doi.org/10.3390/arts12030091.
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In her Nobel speech in 2019, Olga Tokarczuk presented the category of tenderness as a new way of narrating the contemporary world. This article is a proposal for the analysis and interpretation of tenderness in ethical and aesthetic terms. (1) From an ethical perspective, tenderness is interpreted as an extension and complement of feminist relational ethics, i.e., the ethics of care. In the proposed approach, tenderness is a broader and more universal quality than care in the feminist understanding. This article opens with a brief discussion of feminist interventions in ethics, with particular emphasis on the ethics of care. Next, the differences between care and tenderness are enumerated and described, in order to show how tenderness can serve as an extension and complement of the feminist ethic of care. These considerations are guided by the question of why tenderness is a better—more appropriate and more responsive to contemporary challenges—moral guidepost than care. (2) From the aesthetic perspective, tenderness is the negation of a contemplative, distanced, impersonal, and rational view of reality. As an aesthetic imperative, tenderness implies engaged experience of the beauty of reality in all of its manifestations. Therefore, in the last part of the article, existential tender attunement is described in aesthetic terms, as a position serving to sensitize others to the beauty and complexity of the post-anthropocentric world.
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Listyani, Refti Handini, Anggaunita Kiranantika, Diah Ariani Arimbi, and Emy Susanti. "Aesthetic Clinic and Beauty Myths in Indonesia: Discourse Analysis of Beauty Representation in Instagram Accounts." Journal of Society and Media 7, no. 2 (October 28, 2023): 514–45. http://dx.doi.org/10.26740/jsm.v7n2.p514-545.
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The purpose of this study is to uncover the beauty myths displayed in the Instagram accounts of aesthetic clinics in Indonesia. This study uses a qualitative research method with a critical discourse analysis approach by Sara Mills. Results indicates that; First, the existence of women is shown as an object, where women are victims of symbols and beauty standards that arereconstructed and reproduced by the subject (the storyteller), namely the Instagram accounts of beauty clinics @dermaster_id, @ertosbeautyclinic, and @natashaskincare. Women as objects shown cannot be separated from the beauty myth. Second, there are two categories of beauty representations formed in the Instagram accounts of beauty clinics @dermaster_id, @ertosbeautyclinic, and @natashaskincare, namely men beauty representations, which consist of smooth faces, young looks, and firm jaws, and women beauty representations consist of; (1) thin cheeks, firm jaw, and firm skin, (2) smooth, acne-free, and attractive skin, (3) glass skin and slim, and (4) halal beauty. The implications of this research are this study is expected to contribute information and enrich the repertoire of social science especially sociology, also for the development of research on sociology of body, feminism study, and sociology of gender and media.
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Hope, Jeanelle Kevina. "An Ode to Black British Girls." Race and European TV Histories 10, no. 20 (December 1, 2021): 34. http://dx.doi.org/10.18146/view.266.
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This article delves into Michaela Coel’s Chewing Gum, examining how the cultural text builds upon Black feminist media discourse, and intimately grapples with the nuances of Black women’s sexuality while explicitly challenging misogynoir. This work illustrates how Coel is helping develop a Black British cultural aesthetic that centers Black women’s liberation, specifically from an African immigrant perspective, by using satire, all the beauty, pain, and struggles that come with #blackgirlmagic, eccentric adornments, and ‘awkward’ ostentatious characters that at times play into racist images and tropes of Black womanhood to expose the absurdity of life in an anti-Black, sexist, and xenophobic society. In sum, this article understands Coel’s work in Chewing Gum to be Black girl surrealism – the intersection of Afro-surrealism, British dark comedy, and Black feminism.
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James, Robin. "Must Be Love On The Brain?" Journal of Popular Music Studies 32, no. 4 (November 30, 2020): 75–94. http://dx.doi.org/10.1525/jpms.2020.32.4.75.
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As #MeToo activism has revealed cascades of famous and influential men to be serial sexual harassers and rapists, the question of what to do about aesthetically pleasing art made by morally and politically disgusting men has received renewed interest and urgency. I identify two different types of feminist responses to this question. The first kind of response modifies post-feminist and post-race approaches to diversity as a kind of beauty: replacing beauty with disgust, these approaches treat sexism and misogyny as individual-level flaws that can be eliminated through appropriate aesthetic judgments. The second kind of response begins from the premise that centuries of white supremacist capitalist cisheteropatriarchy have shaped our aesthetic principles and conventions such that sexism and misogyny are systemic problems baked into all works of art. I examine how Angela Davis’s revision of Marcuse’s concept of the aesthetic dimension, Katherine McKittrick’s and Alexander Weheliye’s concept of “emulation,” and Rihanna’s vocal performance choices on her 2016 single “Love On The Brain” are all instances of this latter type of response.
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Kratje, Julia. "The Sexual Politics of Beauty: Reflections on Contemporary Argentine Cinema." Latin American Perspectives 48, no. 2 (March 2021): 33–46. http://dx.doi.org/10.1177/0094582x20988719.
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A sketch of the imagery of feminine beauty in contemporary Argentine cinema focusing on the history of regional beauty pageants, the way bodies are displayed, and the critique of conventional aesthetic parameters contributes to a comparative analysis of the documentaries La reina (2013), by Manuel Abramovich, and La más bella niña (2004), by Mariano Llinás, which demonstrate new approaches to old questions about the sexual politics of beauty. Un esbozo de la historia de los certámenes regionales, las condiciones de visibilidad de los cuerpos y la crítica de los parámetros estéticos convencionales contribuye a un análisis comparativo de los documentales La Reina (2013), de Manuel Abramovich, y La más bella niña (2004), de Mariano Llinás, que demuestran nuevas derivas para enfocar viejas preguntas alrededor de la política sexual de la belleza.
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Danylova, Tetiana. "The Modern-Day Feminine Beauty Ideal, Mental Health, and Jungian Archetypes." Mental Health: Global Challenges Journal 3, no. 1 (November 6, 2020): 38–44. http://dx.doi.org/10.32437/mhgcj.v3i1.99.
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Introduction: It can be argued that beauty is not only an aesthetic value, but it is also a social capital which is supported by the global beauty industry. Advertising kindly offers all kinds of ways to acquire and maintain beauty and youth that require large investments. Recent studies demonstrate that physical attractiveness guided by modern sociocultural standards is associated with a higher level of psychological well-being, social ease, assertiveness, and confidence. What is behind this pursuit of ideal beauty and eternal youth: the life-long struggle for survival, selfless love for beauty, or something else that lurks in the depths of the human unconscious?
Purpose: The aim of the paper is to analyze the modern-day feminine beauty ideal through the lens of Jungian archetypes.
Methodology: An extensive literary review of relevant articles for the period 2000-2020 was performed using PubMed and Google databases, with the following key words: “Feminine beauty ideal, body image, beauty and youth, mental health problems, C.G. Jung, archetypes of collective unconsciousness”. Along with it, the author used Jung’s theory of archetypes, integrative anthropological approach, and hermeneutical methodology.
Results and Discussion: Advertising and the beauty industry have a huge impact on women and their self-image. Exposure to visual media depicting idealized faces and bodies causes a negative or distorted self-image. The new globalized and homogenized beauty ideal emphasizes youth and slimness. Over the past few decades, the emphasis on this ideal has been accompanied by an increase in the level of dissatisfaction with their bodies among both women and men. Though face and body image concerns are not a mental health condition in themselves, they have a negative impact on women’s mental health being associated with body dysmorphic disorder, social anxiety disorder, obsessive-compulsive disorder, panic disorder, depression, eating disorders, psychological distress, low self-esteem, self-harm, suicidal feelings. These trends are of real concern.
The interiorization of the modern standards of female beauty as the image of a young girl impedes the psychological development of women and causes disintegration disabling the interconnection of all elements of the psyche and giving rise to deep contradictions. This unattainable ideal is embodied in the Jungian archetype of the Kore. Without maturity transformations, the image of the Kore, which is so attractive to the modern world, indicates an undeveloped part of the personality. Her inability to grow up and become mature has dangerous consequences. Women “restrain their forward movement” becoming an ideal object of manipulation. Thus, they easily internalize someone’s ideas about what the world should be and about their “right” place in it losing the ability to think critically and giving away power over their lives.
Conclusion: Overcoming the psychological threshold of growing up, achieving deep experience and inner growth, a woman discovers another aspect of the Kore, ceases to be an object of manipulation and accepts reality as it is, while her beauty becomes multifaceted and reflects all aspects of her true personality
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Cheng, Anne Anlin. "Wounded Beauty: An Exploratory Essay on Race, Feminism, and the Aesthetic Question." Tulsa Studies in Women's Literature 19, no. 2 (2000): 191. http://dx.doi.org/10.2307/464426.
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Hearn, Alison, and Sarah Banet-Weiser. "The Beguiling: Glamour in/as Platformed Cultural Production." Social Media + Society 6, no. 1 (January 2020): 205630511989877. http://dx.doi.org/10.1177/2056305119898779.
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Arguing that questions of power expressed through aesthetic form are too often left out of current approaches to digital culture, this article revives the modernist aesthetic category of glamour in order to analyze contemporary forms of platformed cultural production. Through a case study of popular feminism, the article traces the ways in which glamour, defined as a beguiling affective force linked to promotional capitalist logics, suffuses digital content, metrics, and platforms. From the formal aesthetic codes of the ubiquitous beauty and lifestyle Instagram feeds that perpetuate the beguiling promise of popular feminism, to the enticing simplicity of online metrics and scores that promise transformative social connection and approbation, to the political economic drive for total information awareness and concomitant disciplining, predicting and optimizing of consumer-citizens, the article argues that the ambivalent aesthetic of glamour provides an apt descriptor and compelling heuristic for digital cultural production today.
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Czakon, Dominika, and Natalia Anna Michna. "Art Beyond the Anthropocene: A Philosophical Analysis of Selected Examples of Post-Anthropocentric Art in the Context of Ecological Change." Journal of Asia-Pacific Pop Culture 6, no. 2 (November 2021): 245–61. http://dx.doi.org/10.5325/jasiapacipopcult.6.2.0245.
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Abstract In this article, the authors discuss selected examples of post-anthropocentric art, which—as they show—is associated with human sensitivity, care, empathy, and the capacity for compassion. Czakon and Michna present artistic creations that serve as examples of art that respond efficiently and quickly to the pressing problems of the contemporary world. This post-anthropocentric art, as they call it, critically reacts to major ecological and social problems of today. For this purpose, in the first and second part of the essay, they briefly characterize the basic differences between traditional, anthropocentric art and contemporary post-anthropocentric art, which has been broadly investigated in, among others, the framework of feminist philosophy and women’s studies. Czakon and Michna focus on such fundamental aesthetics concepts as fine arts and the canon thereof, aesthetic pleasure, and the artist of genius, as well as the categories of beauty and the sublime and the ideal of contemplative viewing of art. Then they present and describe selected examples of artworks that reveal their critical potential by contributing to ecological changes in the contemporary world.
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Yang, Su-Mi. "A Study on the Aesthetic Characteristics of Hetaira Beauty Style Expressed in Greek Pottery." Journal of the Korean Society of Cosmetology 29, no. 2 (April 30, 2023): 456–66. http://dx.doi.org/10.52660/jksc.2023.29.2.456.
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This study studied the aesthetic characteristics of Hetaira's costume and beauty style expressed in pottery paintings of the Greek era as the contents of Greek mythology were recently re-examined as the subject of humanities interest. In ancient Greece, the common name for prostitutes was Hetaira, and she was a religious prostitute who was at the top of the list of prostitutes in Greek society, enjoying the wealth of freedom and status more than any other woman. The aesthetic characteristics of the Hetaira beauty style of the Greek era were largely shown as An ornament beauty, An ostentatious sensuality and symbolic beauty of power. First, An ornament beauty was the makeup of a Greek Hetaira woman, who emphasized her eyes with thick and dark black eyebrows and black eyeliner. The Hetaira woman's face was white with white lead, her eyes were emphasized with eyeshadow using black cowl, and she applied orange short yarn to her cheeks and mouth to put on intense color makeup. Hetara dyed her hair in all sorts of colors, decorated her hair with hairpieces, wore thin cloth ribbons and chest bands, and sprayed perfume made with special prescriptions. Second, ostentatious sensual beauty was applied to various sexual zones of the feminine body and the whole body, such as the nipple and buttocks, which can stimulate men's sexual pleasure, and Hetair's outfit was in the form of a full-body keyton or revealing the upper body. The hair was as voluminous as possible, and the method of dispersing the tarae on the forehead was used to make it look as sensual as possible. Curled hair with thick waves was naturally curled up and expressed sensibly using a signon shape and long hair. Third, the symbolic beauty of power is that ancient Greece's ‘privilege fashion’ was ‘nature’, a power that only men could have, but Hetaira had equal power with men in the symposium with nakedness. The hairstyle seems to have been able to wear a veil or a laurel crown, which is exclusively for men. In the form of a wig, he preferred a curling style with no forehead exposed, and it was found that he produced blade hair. Hetaira's style, represented in Greek pottery paintings, had hair, makeup, and fashion styles that represented the Greek era, possessed greater power and wealth than ordinary women in the Greek era, and was found to have the privilege of wearing heavy makeup, light hair colors and hair decorations that were not allowed by ordinary women. Therefore, it was found that it was very meaningful to study Hetaira's beauty style in studying the beauty culture of the Greek era.
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Adler, Melissa. "Eros in the library: Considering the aesthetics of knowledge organization." Art Libraries Journal 44, no. 2 (April 2019): 67–71. http://dx.doi.org/10.1017/alj.2019.6.
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Privileging the aesthetic aspects of knowledge organization through a feminist historical lens may open possibilities for reimagining a library's space. This paper reveals the history of a relatively unknown figure in the history of knowledge organization. I will suggest that we might regard Pamphila, a miscellanist who lived in Greece during the 1stcentury, as a ‘radical cataloguer’ who introduced a method associated with weaving and embroidery. Her organizational method privileged beauty and pleasure, along with historical accuracy and usefulness.A version of this paper was presented as a keynote speech for the annual conference of ARLIS UK & Ireland in July 2018. The author would like to thank the coordinators for their hospitality and feedback.
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Moskalenko, Daria Nikolayevna. "Beauty as Aesthetic Category through the Prism of Social Constructivism and Feminist Philosophy." Manuskript, no. 11 (November 2020): 163–67. http://dx.doi.org/10.30853/mns200538.
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Oyeleye, Olayinka. "Ìwà l’ẹwà: Towards a Yorùbá Feminist Ethics." Yoruba Studies Review 3, no. 1 (December 21, 2021): 1–19. http://dx.doi.org/10.32473/ysr.v3i1.129931.
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This paper explores a narrative path towards foregrounding what it calls a gender-relative morality as a core dimension of female subordination. It takes a feminist approach to ethics, which stresses specifically the political enterprise of eradicating systems and structures of male domination and female subordination in both the public and the private domains. The theoretical implications of Feminist narrative ethics is then applied to the philosophical imports of Yorùbá proverbs about women as a way to tease out how female subordination is grounded in Yorùbá ontology and ethics. Spe[1]cifically, the essay interrogates the ethical and aesthetical trajectory that leads from ìwà l’ẹwà (character is beauty), a Yoruba moral dictum, to ìwà l’ẹwà obìnrin ([good moral] character is a woman’s beauty). Within this transition, there is the possibility that the woman is excluded from the category of those properly referred to as ọmọlúwàbí.
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Mashtakova, Liubov V., and Elena K. Sozina. "Poetics of theophany in Kormchiye zvyozdy (1902-1903) and Prozrachnost’ (1904) by Vyacheslav Ivanov: Transformations of Eternal Feminine images." Imagologiya i komparativistika, no. 18 (2022): 94–117. http://dx.doi.org/10.17223/24099554/18/5.
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This article focuses on the images of the Eternal Feminine, which are pivotal in Vyacheslav Ivanov’s system of aesthetic and religious views and in the symbolic motifs of theophany connected with it. Theophany in this case means the manifestation of deity in a sensible form in Ivanov’s poetry, philosophical and critical essays, and diaries at different periods of his life. The concept is largely based on the medieval Christian theosophy: “the soul sees God in a dream, sees in a mirror and divination, and not face to face” (Bernard of Clairvaux). Therefore, according to Russian and American historian and art theorist Mikhail Iampolski, the more accurate the mirror, “the less it reflects to us in terms of form and meaning.” The authors hypothesize that the two Ivanov’s collections of poems Kormchiye zvyozdy [Pilot Stars] (19021903) and Prozrachnost’ [Translucency] (1904) connected by one lyrical meta-plot of mystical revelation and theophany show how the Eternal Feminine images gradually become intangible and impalpable. The anthropomorphic image of the Eternal Feminine, having its own attributes and acting as the subject of speech, loses its outlines and, as it were, dissolves into the world. In this sense, two images, the Beauty and the Translucency, can be contrasted. The first image is the central for Kormchiye zvyozdy, the second - for Prozrachnost’. The Beauty can be through ekphrasis (works by Leonardo, Botticelli, Raphael, etc.) and appear in contemplation. Translucency is active and transforms the world, but it is not personified, devoid of a voice. It is an elusive movement, a quality of the transformed world and at the same time an acting subject, signifying the appearance of Sophia in the world. The analysis of the collections has demonstrated that the general metaplot of theophany has an introduction and development. It is integral and implies a certain author’s strategy as well as its conceptual aesthetic and philosophical foundations. Drawing on Ivanov’s own views on the suggestive functions of the poetry of symbolism (“we, symbolists, do not exist - if there are no symbolist listeners” (“Thoughts on Symbolism”)), the authors assume that not Ivanov’s lyrical hero, but his attentive reader approaches the transcendent world over the course of two books, including through the transformation of Eternally Feminine images. That is, Ivanov puts into practice his own concept of the “realistic” (that is, truly symbolist) type of artistic creativity. The authors declare no conflicts of interests.
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DA SILVA MAGALHAES, JILSEANNY. "EMPREENDEDORISMO FEMININO E EFFECTUATION: UM ESTUDO NO SETOR DE BELEZA E ESTÉTICA EM CORUMBÁ (MS)." Revista Científica Semana Acadêmica 11, no. 231 (March 24, 2023): 1–20. http://dx.doi.org/10.35265/2236-6717-231-12449.
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This study there is object to evidence the Effectuation logic in business creation by women entrepreneurs in the beauty and aesthetics sector in the municipality of Corumbá MS. To undertake, according to the theory, part of the means available, and the following questions, “who am I?”, “What do I know how to do?” and "who do I know?" qualitative descriptive research was used, a semi-structured questionnaire based on the Effectuation tool. With regard to the process of sampling and use of the sample, the research subjects were business women from the city. A qualitative, non-probabilistic, convenience approach was used to survey this population using the Snowball technique. Based on the content analysis, the use of the Effectuation logic was identified, even if unconsciously, by the participating businesswomen. The research showed the Effectuation logic.
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Fonari, Victoria. "THE IMAGE OF PYGMALION IN THE CREATION OF ARCADIE SUCEVEANU." Studiul artelor şi culturologie: istorie, teorie, practică, no. 1(42) (September 2022): 152–57. http://dx.doi.org/10.55383/amtap.2022.1.28.
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Admirer of troubadour poetry, Arcadie Suceveanu (b. November 16, 1952, Suceveni, Chernivtsi region, Ukraine) pays close attention to the image of the woman. The feminine includes admiration and fear, desire and meaning. The woman is delicate in his creation, a beauty without body in which the realities of imagination and the everyday are transparent. The lyrical self takes on the role of Pygmalion with a few differences: it does not turn the statue into a woman, but turns Galatea into poetry; love does not perfect, but constitutes the game of acceptance without external transformations, it has the power to give essence to creation itself. Respectively, the transformations are supported by the artist. In this article we have analyzed the aesthetic concepts that also have tangents with ancient myths.
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Moffat, Amber. "Breast augmentation and artificial insemination: Monstrous medicine and the female body in recent fiction." Australasian Journal of Popular Culture 11, no. 1 (December 1, 2022): 163–77. http://dx.doi.org/10.1386/ajpc_00057_1.
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Recent fiction that depicts medical intervention upon the female body as monstrous reveals societal anxiety around aesthetic and reproductive medicine. As biotechnology rapidly advances, the female body continues to be a site on which improvements, efficiencies and controls are imposed. While Kristeva’s abject and Creed’s ‘monstrous-feminine’ explain the capacity of the female body to imbue horror, this literary analysis explores how the experience of the medicalized female body can convey anxiety relating to escalating aesthetic and reproductive demands. Works of fiction by Kawakami, Mazza, Hortle, Booth, Giddings, Gildfind and Taylor are considered in terms of medicine and the female body, with the narratives revealing common themes of monstrosity. Bakhtin’s grotesque and Kristeva’s abject informs the analysis, as does Foucault’s concept of the ‘medical gaze’. Bartky’s ‘fashion-beauty complex’ frames the investigation into depictions of cosmetic surgery, while the impact of capitalism is considered in relation to reproductive technologies and medical experimentation. The power structures that medicine operates within are considered and the article argues that the representation of medicine as monstrous in relation to the female body expresses collective unease about the increasingly unstable boundaries of the human body itself.
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Isha Mittal. "Use of Women’s Beauty and Makeup in Battle: Unveiling Stereotypes and Strength." Creative Saplings 2, no. 09 (December 26, 2023): 35–45. http://dx.doi.org/10.56062/gtrs.2023.2.09.462.
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Since the earliest writings of Bharatmuni's Natyashastra, an essential text in Indian aesthetics written more than two thousand years ago, women have been essentially connected with beauty and makeup. Shringararasa was mostly associated with women in the Rasa philosophy. This link has persisted and can even be seen in current Hollywood productions. It is interesting how beauty has been portrayed in two distinct manners throughout various historical works of literature, films, and books. On one hand, it has supported stereotypes like child marriage and placed restrictions on women's access to higher education and the workforce. On the other side, beauty has the ability to oppose patriarchy and, in a larger sense, be a tool for engaging in the struggle against oppression and lending support to diverse freedom movements. When faced with these obstacles, women stand out as heroes because they actively destroy patriarchal repressive institutions. Numerous narratives, motion pictures, and stage plays—both fiction and non-fiction—emphasize the extraordinary resilience of women and demonstrate how they employ cosmetics and beauty not just as a means of self-expression but also as instruments of adaptation in feminist movements and combat zones. These tales capture the essence of Goddess Durga, who stands for fortitude and tenacity. This paper analyses both perspectives of beauty, citing various texts, movies, novels, and other media as sources for its arguments. Let us continue the teachings of history, mythology, and film by traversing the complexity of beauty, strength, and resistance. Let us raise the voices of those who question conventions, celebrate diversity, and collaborate to create a society where every individual, regardless of gender, may thrive and contribute to the prosperity of a genuinely inclusive and just world.
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White, Shauntae Brown. "Releasing the pursuit of bouncin' and behavin' hair: natural hair as an Afrocentric feminist aesthetic for beauty." International Journal of Media & Cultural Politics 1, no. 3 (December 1, 2005): 295–308. http://dx.doi.org/10.1386/macp.1.3.295/1.
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Sohm, Philip. "Gendered Style in Italian Art Criticism from Michelangelo to Malvasia*." Renaissance Quarterly 48, no. 4 (1995): 759–808. http://dx.doi.org/10.2307/2863424.
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Did the concept of style have gender? Were the styles of particular Renaissance painters considered to have gendered qualities by contemporary critics? Because gender permeated the rhetorical and philological foundations of art criticism, it can provide a useful interpretive lens to examine the critical arsenal of writers on art, their attitudes toward style and the subterranean bias of their language. Feminist art history has grappled with gender more in terms of iconography, biography, or patronage following a social agenda to analyze a misogynist past and to remedy the marginalization of women in modern art historiography. An exceptional study by Elizabeth Cropper in 1976 broached the question of gender in aesthetics by reconstituting a complex history of love and beauty that converged in treatises on beautiful women.
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Braz, André, and Camila Cazerta de Paula Eduardo. "Reshaping the Lower Face Using Injectable Fillers." Indian Journal of Plastic Surgery 53, no. 02 (August 2020): 207–18. http://dx.doi.org/10.1055/s-0040-1716185.
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AbstractThe lower third is very important for the pleasant appearance of the face. A well-contoured jawline is desirable in men and women, giving a perception of beauty and youth. It is also key to sexual dimorphism, defining masculine and feminine characteristics. The nonsurgical rejuvenation and beautification of the lower third of the face is becoming more frequent. Injectable fillers can reshape the jawline, lift soft tissues, and improve facial proportions, effectively improving the appearance of the area.It is paramount to understand the facial anatomy and perform a good facial assessment in order to propose a proper aesthetic treatment plan. The aesthetic goal of the rejuvenation approach is to redefine the mandibular angle and line. In young patients, beautification can be achieved through correction of constitutional deficit or enhancement of the contour of the face, improving the facial shape. It is very important to possess knowledge of facial anatomy and of the aging process in order to deliver effective and safe results.In this article, we discuss the anatomy of the lower third of the face, facial assessment, aging process, and treatments of the chin, prejowls and mandibular line and angle with injectable fillers. The authors’ experience in the approach of this area is discussed.
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Bloom, Lisa E. "Jewish “Ghosts”: Judit Hersko and Susan Hiller and the Feminist Intersectional Art of Post-Holocaust Memory." Arts 13, no. 2 (February 29, 2024): 50. http://dx.doi.org/10.3390/arts13020050.
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This article delves into the underexplored intersection of Jewish identities and feminist art. It critically examines artworks by Judit Hersko and Susan Hiller, aligning with evolving identity constructs in contemporary aesthetics. Concepts like “postmemory” link second-generation Jewish artists to past experiences and unveil the erasure of Jewish women’s memory of Jewish genocide. Analyzing Hersko and Hiller’s diverse works, from landscape photography and sculpture to performance art, it underscores their shared pursuit: illuminating lingering “ghosts” of the Holocaust in modern landscapes. Susan Hiller’s The J Street Project represents an ongoing exploration of loss and trauma beyond the Holocaust in Germany, using archives as a dynamic, evolving phenomenon. Judit Hersko’s art calls for bearing witness to a potential climate catastrophe in Antarctica. The article culminates in the exploration of “The Memorial” (2017), an art project by the activist collective Center for Political Beauty that focuses on the resurgence of overt anti-Semitism in Germany. In essence, Hiller and Hersko confront erasures in history and nature, emphasizing justice and repair. Their art, intertwined with a project addressing contemporary anti-Semitism, serves as a testament to the enduring power of feminist art, reflecting, mourning, and transforming a world marked by historical traumas and war.
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Pilane, Pontsho, and Mehita Iqani. "Miss-represented." Communicare: Journal for Communication Studies in Africa 35, no. 1 (October 17, 2022): 126–41. http://dx.doi.org/10.36615/jcsa.v35i1.1606.
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This paper reports on a quantitative content analysis of 2,699 images of women present in oneyear’s worth of the South African edition of Glamour magazine. Motivated by critical race theory,black feminist thought and critical consumption studies, the aim of the study was to determine howoften black women were represented in the sample and, further, to examine the particular bodytypes and hairstyles preferred in the aesthetic of black women featured. The findings showed thateven though Glamour magazine claims that 65% of its readership is comprised of black women,they feature in only 30% of images, and when present, have hairstyles and body types mostcommonly associated with white supremacist ideas of beauty. The (albeit unsurprising) failureof Glamour magazine to adequately represent a diversity of black femininities is theorised as aresult of pervasive neo-liberal, racist and patriarchal structures of power in post-apartheid SouthAfrica. We argue that the case study illuminates a racially charged post-feminist moment, in whichblack women are represented as valuable only in terms of their proximity to a white ideal, andvalued only in terms of their lucrative potential as an aspirant, compliant mass market.
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Song, Geng. "The Afterlife of a Tang Monk: Buddhist Masculinity and Transformations of the Image of Xuanzang in East Asia." NAN NÜ 24, no. 2 (November 9, 2022): 296–318. http://dx.doi.org/10.1163/15685268-02410049.
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Abstract This study focuses on how Xuanzang (602-64), the well-known monk who procured Mahāyāna Buddhist scriptures from India and translated them into Chinese, posthumously became an icon of soft and queer masculinities in East Asian popular culture. Through a historical survey of the transformation of this image in various cultural forms, including literature, films, TV shows, anime and manga, computer games, and memes in China, Japan, and Korea, this article explores the interplay between religion and gender in East Asia, and argues that the image of Xuanzang is the product of the negotiations among a variety of cultural and economic forces and factors, such as the Buddhist notions of gender transgression and reincarnation, the Confucian discourse of scholar masculinity and androgyny, the cult of homosocial bond and brotherhood, as well as commercial concerns in TV and cinematic adaptations. Despite concerns over the character’s effeminacy and various attempts to re-masculinize him, the most popular and widely accepted image of Xuanzang remains that of a young scholar characterized by vulnerability and feminine beauty – a prototype of the fashionable “little fresh meat” aesthetic today.
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Martínez Collado, Ana. "Estéticas feministas y prácticas artísticas audiovisuales en España. Intervenir en la memoria, sentir el presente, impulsar el futuro." Arte y Políticas de Identidad 25 (December 30, 2021): 246–76. http://dx.doi.org/10.6018/reapi.506291.
Full textAbstract:
This article analyzes the relationships between current developments in audiovisual practices and feminist aesthetics in Spain. This confluence actively participates in the paradigm shift, both discursive and experiential, of certain contemporary identity issues, thus promoting a rewriting of both concepts and practices, encouraging the creation of alternative imaginaries. Hence, in this symbiotic participation, new forms and experiences are discovered, alterations of the traditional canon of art, of the beauty and the sublime, and a visibility of the everyday through a reaffirmation of the experience blurring the limits of the public and the private. In this regard, we will conclude pointing out the importance of said interweaving, focusing on how female artists and feminist aesthetics have intervened the hegemonic imaginaries through a rereading of memory, feeling the present and promoting more inclusive alternative ways of seeing. El presente artículo analiza las relaciones entre los desarrollos actuales de las prácticas audiovisuales y la Estética feminista en España. Dicha confluencia participa activamente en el cambio de paradigma, tanto discursivo como experiencial, de ciertas cuestiones identitarias contemporáneas, promoviendo así una reescritura tanto de los conceptos como de las prácticas, incitando la creación de imaginarios alternativos. De este modo, en dicha participación simbiótica se descubren nuevas formas y experiencias, alteraciones del canon tradicional del arte, de la belleza y lo sublime, y una visibilización de lo cotidiano a través de una reafirmación de la experiencia que diluye los límites de lo público y lo privado. Concluiremos, así, señalando la importancia de dicha imbricación, incidiendo en cómo las mujeres artistas y la estética feminista han intervenido los imaginarios hegemónicos a través de una relectura de la memoria, sintiendo el presente e impulsando modos de ver alternativos más inclusivos.