Academic literature on the topic 'Feminine masquerade'
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Journal articles on the topic "Feminine masquerade"
Belsey, Catherine. "Popular Fiction and the Feminine Masquerade." European Journal of English Studies 2, no. 3 (December 1998): 343–58. http://dx.doi.org/10.1080/13825579808574422.
Full textSalotto, Eleanor. "Detecting Esther Summerson's Secrets: Dickens's Bleak House of Representation." Victorian Literature and Culture 25, no. 2 (1997): 333–49. http://dx.doi.org/10.1017/s1060150300004824.
Full textBowen, Kate. "Giving Hegemonic Masculinity a Face Lift: Masquerade in John Woo's Face/Off and the Somatechnics of Masculinity in Crisis." Somatechnics 11, no. 1 (April 2021): 10–26. http://dx.doi.org/10.3366/soma.2021.0337.
Full textWaggoner, Catherine Egley. "The emancipatory potential of feminine masquerade in Mary Kay cosmetics." Text and Performance Quarterly 17, no. 3 (July 1997): 256–72. http://dx.doi.org/10.1080/10462939709366189.
Full textShields, Vickie Rutledge, and Colleen Coughlin. "Performing rodeo queen culture: Competition, athleticism and excessive feminine masquerade." Text and Performance Quarterly 20, no. 2 (April 2000): 182–202. http://dx.doi.org/10.1080/10462930009366293.
Full textMouton, Janice. "From Feminine Masquerade to Flaneuse: Agnes Varda's Cleo in the City." Cinema Journal 40, no. 2 (2001): 3–16. http://dx.doi.org/10.1353/cj.2001.0004.
Full textKaplun, Marianna V. "Gender projections in the novel Soul in A Mask by N. V. Nedobrovo." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 60 (2021): 188–200. http://dx.doi.org/10.37816/2073-9567-2021-60-188-200.
Full textStalpaert, Christel, and Sophie Doutreligne. "Performing with the Masquerade: Towards a Corporeal Reconstitution of Sophie Taeuber’s Dada Performances." Performance Philosophy 4, no. 2 (February 1, 2019): 528–45. http://dx.doi.org/10.21476/pp.2019.42228.
Full textMurphy, Ian. "Anima animus." Alphaville: Journal of Film and Screen Media, no. 4 (December 21, 2012): 97–115. http://dx.doi.org/10.33178/alpha.4.07.
Full textGündar, Zehra. "MARIANNE MOORE: NO WAY OUT, GENDERING BODY THROUGH POETICS AND POETRY AS ECRITURE FEMININE." IEDSR Association 7, no. 18 (March 18, 2022): 276–93. http://dx.doi.org/10.46872/pj.507.
Full textDissertations / Theses on the topic "Feminine masquerade"
Boyes, Emma Louise. "The masquerade of the feminine." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16250/1/Emma_Boyes_Thesis.pdf.
Full textBoyes, Emma Louise. "The masquerade of the feminine." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16250/.
Full textBurton, Laini Michelle, and n/a. "The Blonde Paradox: Power and Agency Through Feminine Masquerade and Carnival." Griffith University. Queensland College of Art, 2006. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070122.110616.
Full textBurton, Laini Michelle. "The Blonde Paradox: Power and Agency Through Feminine Masquerade and Carnival." Thesis, Griffith University, 2006. http://hdl.handle.net/10072/365277.
Full textThesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
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Irimescu, Alexandra. "Les blogs personnels de mode en tant que nouvelles technologies de genre : Construction/déconstruction de l’éthos féminin." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE2055.
Full textNowadays, the blog actively mobilizes social and technological transformations that are characteristic for the Western society. As such, it encompasses two directions: a counter- hegemonic one, dismissing the monopoly of gender models and of information production, and an identity-related one, aspiring to the promise of unaltered self-expressionin the public sphere. This study aims to contribute to the body of research about the online manifestation of gender expressivism. Personal fashion blogs are analyzed as a form of cultural intervention, an emergent discourse, and a space of affirmation for contra-audiences, as well as a new gender technology, that facilitates the redefinition of contemporary femininity. The purpose is to explore how women represent themselves, how they relate to their social context, their gendered status, and how they communicate their intentions. To this end, I depart from the premise that their interventions in the digital space are enacted as agents seeking to validate new forms of feminine sociality. The corpus is built on an exploratory analysis revealing the fragmentation characterizing personal fashion blogs. Although this is a pioneering work, it does not treat superficially the investigated phenomena. Beyond the analysis, it emphasizes the future shifts of personal fashion blogs, in synergy with Internet developments. The blogosphere has constituted a rich source of qualitative data, which has allowed a methodological triangulation: an online ethnographical observation, a discourse analysis centering on the notion of ethos and a visual analysis. I selected and analyzed a varied repertoire of the contemporary feminine ethos (physical, disruptive, professional and familial), which demonstrates that in this media there is a trend to detach oneself from dominant model of femininity. By employing a cross-national corpus of fashion blogs, owned by women, I have identified the traits of the dominant fashion blog – presenting what it appears to be a consensual view on femininity, in partnership with the fashion industry - but also a series of counterhegemonic positionings. This research signals the transition from an imaginary femininity towards a feminine identity which materializes in close relationship with social status. In this shift of perspective resides our interest in a practice which grants access to self-representation.The study suggests defining personal fashion blogs as new gender technologies. It starts with a generic analysis of fashion blogs by circumscribing various scenographies based on which a series of visual sub-categories can be distinguished. Thus, I introduce an original typology of personal fashion blogs: male gaze, hedonistic practices, critical stance and social activism. On the one hand, personal fashion blogs neutralize the social context through the continuous activation of the feminine masquerade and by claiming a monolithic feminine identity, the blog becomes an instrument of participative alienation. On the other hand, through the deconstruction of the feminine masquerade, by building online diasporic communities, and shifting between identities, personal fashion blogs become an instrument of soft power, a place of resistance that establishes women’s representations as something achieved by them, not imposed upon them. An inter-disciplinary approach has made possible the analysis of this syncretic object of study, which is the result of digital technologies, but also of existing social transformations / of evolving gender relations
Grimborg, Lotta. "Den feminina maskeraden : Attributen som skapar ytspänningar." Thesis, Konstfack, Ädellab/Metallformgivning, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5192.
Full textThe full thesis contains copyrighted material which has been removed in the published version.
Berseneva, Olga. "Statut métapsychologique de la mascarade féminine et de la parade virile." Thesis, Aix-Marseille, 2019. http://www.theses.fr/2019AIXM0131.
Full textThe Metapsychological approach is focused on describing the psychic processes deployed in the feminine masquerade and in the virile parade from the topical point of view. The fundamental concepts of psychoanalysis allow the feminine and the masculine categories to be studied. If we take into account the imbalance existing il the literature which deals with the matter of the masculine or the feminine, we déduise that "the enigma of the woman" leaves much to be discussed, where the question of the masculine would not strip up controversy. It is also common to associate the masquerade with the feminine position while its correlate for the man would be in the virile parade. According to Lacan, the relationship between the man and the woman is indeed an object of a show and the comedy between the sexes represents the effects of the relationship with the phallic signifier. The attitude of the woman towards the phallus plays in the register of the lack and the substitution and refers to appear to being phallus, where the attitude of the man is on the side of the lure and indicates appear to having phallus. Thus, the two sexes individually miss the sexuel relation which cannot be written. By thise thesis, we want to add a major nuance to the articulation of the feminine masquerade and the virile parade, as well as to its repercussions on any sexual position. Without neglecting the social impact on the distribution of the sex roles, we insist that the cultural dimension cannot determine the structural choices of the sexual positions
Ortega, Laura M. "The Commodification of Queer Virgins in Shakespeare, Spenser, and Keats." FIU Digital Commons, 2015. http://digitalcommons.fiu.edu/etd/1905.
Full textPalmcrantz, Nicolina, and Marlene Gröning. "Disneys feministiska ikon – eller? : En feministisk analys av filmen Mulan." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-26933.
Full textIn this essay the Disney-movie Mulan from 1998 has been analyzed through a feminist approach. In a time when feminism once again is a burning issue and since there is still a debate regarding Mulan and feminism this essay wanted to investigate if Mulan could actually be called a feminist movie. Based on Judith Butler’s feministic ideas regarding how gender is a construction and a masquerade combined with Laura Mulvey’s theory about the male gaze in movies and Margareta Rönnbergs explanation of the female coded hedonic power versus the male coded agonic we writers have made an narrative analysis of the movie Mulan and also an analysis of the character Mulan and found clear examples of how the movie breaks with current norms of gender, confirms the theory of masquerade and doesn’t conform to the male gaze. However, the movie is problematic since it contains scenes that also confirm current power and gender structures and scenes with just women are given very short screentime, something we have explored through the Bechdel-Wallace-test. If you look at the movie as a whole, goes in depth into the movies narrative and look at the character Mulan it is this essays conclusion that Mulan is a feministic movie.
Cecilia Mörner var examinator för den här uppsatsen medan Per Vesterlund var examinator för kursen och den som attesterade kursens betyg (och därför står som examinator på titelsidan men inte i metadata).
De, La Cruz-Guzman Marlene. "Of Masquerading and Weaving Tales of Empowerment: Gender, Composite Consciousness, and Culture-Specificity in the Early Novels of Sefi Atta and Laila Lalami." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1417002139.
Full textBooks on the topic "Feminine masquerade"
Phillips, Ruth B. Representing woman: Sande masquerades of the Mende of Sierra Leone. Los Angeles, Calif: UCLA Fowler Museum of Cultural History, 1995.
Find full textAtkinson, Alastair James. Gazing into the dark continents: The function of fantasy and masquerade within narrative cinema, based in feminist film theory. [Derby: University of Derby], 1998.
Find full textSchofield, Mary Anne. Masking and unmasking the female mind: Disguising romances in feminine fiction, 1713-1799. Newark: University of Delaware Press, 1990.
Find full textMasquerade: The Feminist Illusion. Trafford Publishing, 2004.
Find full textMasquerade: The Feminist Illusion. Hamilton Books, 2005.
Find full textTan, Jia. Digital Masquerade: Feminist Rights and Queer Media in China. New York University Press, 2023.
Find full textDigital Masquerade: Feminist Rights and Queer Media in China. New York University Press, 2023.
Find full textBook chapters on the topic "Feminine masquerade"
Cowie, Elizabeth. "Female Sexuality, Feminine Identification and the Masquerade." In Representing the Woman, 222–60. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1007/978-1-349-25269-5_7.
Full text"Feminine Excess:." In Masquerade and Gender, 123–62. Penn State University Press, 1993. http://dx.doi.org/10.5325/j.ctv14gp3x8.8.
Full text"5. Feminine Excess: Frances Burney's The Wanderer." In Masquerade and Gender, 123–62. Penn State University Press, 1993. http://dx.doi.org/10.1515/9780271074863-006.
Full text"CHAPTER II. Feminine Mimicry and Masquerade." In Gender and Romance in Chaucer's "Canterbury Tales", 55–92. Princeton: Princeton University Press, 1994. http://dx.doi.org/10.1515/9781400863754.55.
Full textKent, Miriam. "Playing Superheroine: Feminine Subjectivity and (Postfeminist) Masquerade." In Women in Marvel Films, 93–118. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474448826.003.0005.
Full text"Four. Speaking as Rahel: A Feminine Masquerade." In Speaking through the Mask, 48–60. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501732003-006.
Full text"4. Playing Superheroine: Feminine Subjectivity and (Postfeminist) Masquerade." In Women in Marvel Films, 93–118. Edinburgh University Press, 2021. http://dx.doi.org/10.1515/9781474448840-006.
Full textBolton, Lucy. "‘The brunette with the legs’: the significance of footwear in Marnie." In Shoe Reels, 166–79. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474451406.003.0014.
Full textMusser, Amber Jamilla. "Femme Aggression and the Value of Labor." In Sensual Excess, 144–66. NYU Press, 2018. http://dx.doi.org/10.18574/nyu/9781479807031.003.0007.
Full textYip, Man-Fung. "The Difficulty of Difference." In Martial Arts Cinema and Hong Kong Modernity. Hong Kong University Press, 2017. http://dx.doi.org/10.5790/hongkong/9789888390717.003.0005.
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