To see the other types of publications on this topic, follow the link: Feminism and the arts.
Dissertations / Theses on the topic 'Feminism and the arts'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Feminism and the arts.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Reading, Christina. "Representing melancholy : figurative art and feminism." Thesis, University of Brighton, 2015. https://research.brighton.ac.uk/en/studentTheses/ae432ef0-fe07-4314-b972-11b50495534a.
Full textAbstract:
Re-presentations of women's melancholic subjectivity by women figurative artists from different historical moments, canonical images of melancholy and theoretical accounts of melancholy are brought together to address the question: 'What aspects of women's experience of melancholy have women figurative artists chosen to represent historically and contemporaneously, and further what is the importance of these artworks for understanding the nature of women's melancholic subjectivity today?
2
Lima, Caminha Melissa. "Payasas: Historias, Cuerpos y Formas de Representar la Comicidad desde una Perspectiva de Género." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/400011.
Full textAbstract:
En mi tesis hago un estudio genealógico de la figura de la payasa, a partir de un abordaje interdisciplinar que facilite un dialogo entre la Payasaría y otras disciplinas artísticas y teóricas, como las Artes Visuales, los Estudios de Performance, la Teoría Crítica, Artes y Educación, los Feminismos y las Teorías Queer y Crip. El estudio genealógico se basa en un trabajo de campo por lo cual he realizado entrevistas con payasas, participación en festivales, investigación documental, análisis y crítica de género. La investigación acaba por indagar sobre la diversidad de cuerpos y formas en el campo da la risa y la comicidad, desplazando la pregunta inicial sobre género para una problemática más amplia y fundamental sobre lo humano. Desde un abordaje feminista-queer-crip-clown, propongo nuevas figuraciones teóricas que sirvan como herramientas críticas y analíticas para comprender nuestra subjetividad como un proceso de devenir. Un proyecto de devenir que podemos establecer no solamente con los diferentes Otros con quien vivimos y nos relacionamos, sino también con los posibles y potentes Otros que existen en cada uno de nosotros. También busco establecer clown_tactos y clown_labor_aciones artísticas y políticas entre sujetxs y campos del conocimiento comprometidos en la creación de nuevos mundos posibles a través del arte. El proceso de investigación influye directamente en la construcción de mi subjetividad e identidad como artivista, educadora e investigadora, marcada por diversos afectos y afinidades, encarnados en los siguientes proyectos: Xoxo Clown Show, TransClowning y Belly.Breast_Mama.Monster.Clown.In my PhD research, I do a genealogical study of the female clown figure, from an interdisciplinary approach that engages in a dialogue between clownery and others artistic and theoretical disciplines, like the Visual Arts, Performance Studies, Arts Education, Critical Theory, Feminisms, Queer and Crip Theories. The genealogical study is based on a field research in which I conducted interviews with women clowns, participated in women’s clown festivals, documental research, gender criticism and analyses. The research ends up inquiring about the diversity of bodies and forms in the fields of laughter and comicality, displacing the initial woman and gender question to a more central, yet very related one: the human question. From a feminist-queer-crip-clown approach, I suggest new theoretical figurations that can serve as critical and analytical tools to comprehend our subjectivity as a becoming project. A becoming project that we can stablish not just with the different external Others, but also with the potential and possible others that exist in each one of us. I also try to stablish artistic and political “clown_tacts” and “clown_laborations” between diverse subjects and knowledge fields engaged in the artistic creation of new possible worlds. Clowntacts and clownlaborations that are able to develop creative pedagogies and politics that serve a democratic project based on the new approaches on posthuman ethics. The research process directly influence the construction of my subjectivity and identity as artvist, educador and researcher, marked by several affinities and affects, embodied in the following projects: Cunt Clown Show, TransClowning and Belly.Breast_Mama.Monster.Clown.
3
Melin, Louisa. "Feminism i läroböcker – En visuell analys av feminism i läroböcker för Samhällskunskap 1b." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21810.
Full text
4
Lumm, Logan Ann. "Post-feminism and the modern day bombshell." Thesis, Boston University, 2014. https://hdl.handle.net/2144/21210.
Full textAbstract:
Thesis (M.F.A.)Note: The author, Logan Ann (Lumm) Taylor, can be reached at logananntaylor@gmail.com.
The bombshell figure is nothing new— she has been a historical site of feminist discourse, both applauded and vilified for her position and influence within celebrity culture. In the post-feminist era in which we may now live, the bombshell has been reimagined in reaction to the ideologies of the post-feminist movement. She emphasizes the problematic aspects of this movement, but also finds agency and power within its confines. This study provides two examples of the modern day bombshell figure, Sofia Vergara and Angelina Jolie, and explores the facets of these women’s brand identity that further women’s advancement toward true equality as well as those facets that inhibit women’s ability to rise above objectification and limited perspectives of equality and feminist success. This study explores the complicated relationship between celebrities, their fans, and the societal constructs in which they operate, ultimately revealing two women who have updated previous models of femininity with an agency and empowered sensibility that could well be the future of feminist action and choice.
5
Preece, Georgia. "Women, painting and critical practice in Britain 1984-1992." Thesis, University of East Anglia, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368175.
Full text
6
Rups-Eyland, Annette Maie, University of Western Sydney, of Arts Education and Social Sciences College, and School of Social Ecology and Lifelong Learning. "Centre of the storm : in search of an Australian feminist spirituality through performance-ritual." THESIS_CAESS_SELL_Rups-Eyland_A.xml, 2002. http://handle.uws.edu.au:8081/1959.7/771.
Full textAbstract:
The outward form of the text in which the spiritual search is housed is 'performance-ritual', that is, performed 'ritual'. This genre has its 'performance' roots in the dance pioneers and its 'ritual' roots in the Christian church. The contents of this performed text is influenced by an emerging ecofeminist consciousness. In this way, the thesis has a grassroots inspiration as well as crossing academic areas of performance studies, ritual studies, and feminist spirituality. The project begins by an examination of 20th Century feminist and ecofeminist writing on spirituality, which evokes the subjective, embodied and historically contextualised, with particular focus on body and nature. Additional concepts of place, holding and letting go are introduced. Particular performance-rituals are introduced under the overall heading 'the spiralling journey of exorcism and ecstacy'. They include earlier work, as well as work performed specifically for this thesis, Centre of the Storm. The study re-situates 'ritual' as a subjective, embodied and contextualised performed event. It challenges ritual discourse to incorporate 'spirit', and feminist spirituality to incorporate the material world, through 'place', 'family', and the ritual actions of 'holding' and 'letting go'.Doctor of Philosophy (PhD)
7
Wolk, Magdalena. "Fourth Wave Feminism Through Lana Del Rey." Thesis, Malmö universitet, Malmö universitetsbibliotek, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-46016.
Full text
8
Tupper, Denise. "My Family of Women: Celebrating Blackness and Exploring Themes of Black Feminism." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/182.
Full textAbstract:
This paper maps themes (e.g. family, beauty, femininity, gender, blackness, representation) and artists from the Black arts and Feminist art movement who have been very influential when planning this senior art project. I specifically look at the works of Black feminist artists such as Betye Saar, Faith Ringgold, Carrie Mae Weems, Kara Walker, and Mickalene Thomas who navigate themes from both movements. In my project I have painted a series of interpretive acrylic portraits of close friends and family members, all adapted from photographs.
9
Laurentiis, Gabriela Barzaghi De 1987. "Louise Bourgeois e os modos feministas de criar." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279680.
Full textAbstract:
Orientador: Luzia Margareth RagoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-27T13:44:06Z (GMT). No. of bitstreams: 1 Laurentiis_GabrielaBarzaghiDe_M.pdf: 188718690 bytes, checksum: efdce2b517714ad07709da63f618f70c (MD5) Previous issue date: 2015
Resumo: Esta dissertação aborda a produção artística de Louise Bourgeois, focando as formas corporais trazidas em suas obras. Trata-se de perceber como sua arte possibilita elaborar críticas ao modelo falogocêntrico do feminino e, simultaneamente, abre possibilidades para a criação de formas múltiplas das subjetividades das mulheres. A produção de sentidos para as obras é realizada a partir de uma orientação teórica e metodológica feminista e pós estruturalista, apresentada, principalmente, nos escritos de Gilles Deleuze, Félix Guattari, Michel Foucault, Suely Rolnik, Rosi Braidotti, Norma Telles, Tania Swain, Margareth Rago e Michelle Perrot
Abstract: This research addresses the artistic production of Louise Bourgeois, focusing on the corporal forms expressed in in her pieces. It pertains the perception of how her art enables the possibility to criticize the phallogocentric model of feminine and, simultaneously, allows the creation of multiple forms on the women subjectivity. The production of meanings for her works is accomplished trough a theoretical and methodological feminist and post structuralist orientation, presented, mainly, in the writings of Gilles Deleuze, Félix Guattari, Michel Foucault, Suely Rolnik, Rosi Braidotti, Norma Telles, Tania Swain, Margareth Rago and Michelle Perrot
Mestrado
Historia Cultural
Mestra em História
10
Ford, Ashley. "Willing Participant: The Emergent Sexuality of Post-Feminist Women." Honors in the Major Thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1154.
Full textAbstract:
This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Humanities
Art
11
Burris, Jessica Margaret. "Finding Feminism in American Political Discourse : A Discourse Analysis of Post-Feminist Language." UNF Digital Commons, 2012. http://digitalcommons.unf.edu/etd/395.
Full textAbstract:
The term “feminist” is a widely used label that is often embraced by women who do not advocate feminism. The wide use of the feminist label in contrast to the declining presence of feminist activism indicates a problem with the development of a third wave of feminism in the United States. In this study, I evaluated trends in feminism in the United States through an analysis of public political discourse. A semantic discourse analysis of political discourse from 1870 to 2011 evaluated a shift in the use of inclusive and exclusive pronoun usage by female political speakers. Speeches compiled for this study were obtained from internet sources such as NPR, C-Span and CNN, and evaluated the oratory of Victoria Woodhull, Geraldine Ferraro, Hillary Clinton, Sarah Palin and Michelle Bachmann. The results of this study indicated that there was not a strong shift in the use of inclusive and exclusive pronouns overtime, but there was a large growth in both population and diversity of the targeted audience, and this growth was often not accommodated for in the discourse of contemporary female political candidates. The slow shift in inclusive discourse indicated a post-feminist line of thought that questioned the validity of an argument for a third wave of feminist activism in the United States. Political discourse cannot define a cause for post-feminism, but can indicate a downward trend in the influence of feminism as a contemporary cultural movement.
12
Wong, See-yuen Gina. "Global feminisms in feminist art and their new challenges." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38697245.
Full text
13
Wong, See-yuen Gina, and 黃思源. "Global feminisms in feminist art and their new challenges." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38697245.
Full text
14
Schwanse, Nina E. "Trouble Every Day." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/td/1535.
Full textAbstract:
My interests lie in the intersection of the public and private, the corporate and personal, especially with regard to self-representation within cultural power structures. Utilizing video and web technologies, performance, and painting, I create imagined realms of fantasy, desire, obsession, and anxiety. Operating within, but not bound by, feminist discourse, my work explores the vehicles and effects by which both analog and digital technologies influence the relationship between the self and the object of desire (whether physical or virtual, interior or exterior to the body) and have produced both progressive and regressive offspring. By performing the role of both producer of cultural archetypes and the compulsive consumer of signs, my characters embody the representation(s) of their source but, through action and voice, invent a mutant surrogate who dictates its own agency.
15
Amano, Fumi. "Re-exploring my identity as a Japanese woman." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4846.
Full textAbstract:
This document contains reflections on my motivations and the personal decisions made in the realization of selected works leading up to and including my thesis exhibition "Voice". The following text shares the many and varied connections between my life and art-making. My issues in my personal relationships with others has spilled out from my heart and turned into these works. I'm continuously expressing the unsuccessful attempts we make at developing true bonds that bridge the gaps between people.
16
Mantecon, Laurie. "Feminine Rhyme." PDXScholar, 1996. https://pdxscholar.library.pdx.edu/open_access_etds/5220.
Full textAbstract:
'Feminine Rhyme' is a sequence of objects and paintings that resonate with women's experience in contemporary culture. The components I have used are: the structure of the grid, aggressive surface handling, and language derived from text. I have reconfigured these elements to direct the viewer in exploring layers of information that can be viewed in fragments as well as understood within the containment of a sound whole. I have explored the relationship of gender identity in our culture, and the role women play in association to masculine power. Through repetitive use of the grid, combined with isolated words and images, I have created paintings that can be read either in a formal manner through the use of structure and materials that are visually pleasing, or in context to a visual dialogue of contemporary gender myths. By fragmenting text in the form of torn book pages, I have altered and personalized the order, lending weight to chaos. Words become a form of mark making, a lyrical device to be read at random. I have obscured the imagery by hiding the text, leaving only scattered bits of information. These bits are derived from a 'therapeutic model' found in self help books, diet books and romance novels which exploit "feminism" as a commodity, serve as cultural documents, and influence women as to how they should perceive their bodies, their minds, their freedom. The end result is a visual interplay of form and color within the context of personal testimony and societal conditioning of the female experience in contemporary culture.
17
Kidder, Alana D. "Women Artists in Pop: Connections to Feminism in Non-Feminist Art." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1388760449.
Full text
18
Imre, Anikó. "Allegories of transition : feminism and postcolonial East European cinemas /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/9469.
Full text
19
Neumeister, Scott Leslie. "Circling Back Home: A Lifelong Odyssey into Feminism." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4378.
Full textAbstract:
What happens when a classroom becomes more than just a site of intellectual growth and evolves into a locus of emotional, social, and spiritual transformation? What happens when a student in such a classroom also occupies the role of teacher and desires to reproduce such a transformative environment for his students? In brief, this thesis answers these questions by offering a narrative and critique of my personal "conscientization" via feminism and elucidates the theory behind, my approaches toward, and the results of my bringing graduate-level feminist theory and pedagogy to a middle school English classroom. I examine how my experiences as a student in both the past and the present have merged to shape my work as a teacher and have set me on the path to becoming a professor, not only in the sense of a college teacher as a profession but as a person who professes, who openly declares the truths of my past as both dehumanizer and dehumanized to help others come to critical consciousness.
First, I autobiographically critique my learning and assimilation of The Iliad and The Odyssey in middle school, reflecting upon how these works occupied a major part of my indoctrination into the hyper-masculine, white, patriarchal, upper-class dogma of the culture, as well as bringing a feminist perspective to bear upon these personally influential epics. Next, I examine my studies in the University of South Florida's master's program in English literature and, in particular, my direct and life-changing encounter with feminism in a 2009 course in feminist theory, which facilitated a complete re-visioning of my life and led to a personal renaissance. The final part of this circular path leads me back to my teaching of the same classical texts that so greatly influenced me as a young man, and I explain how my transformative experiences with both feminist theory and pedagogy motivated me to distill their critical approaches into a form and format that I have successfully implemented for my middle-school classroom.
20
York, Regina. "Feminism, Selfhood & Emily Dickinson." TopSCHOLAR®, 1991. https://digitalcommons.wku.edu/theses/3019.
Full textAbstract:
This paper will draw on the work of leading feminist critics and the works of Dickinson, her biographers, and her critics. No effort is being made to trace the history of feminist criticism; that has been done numerous times by critic after critic. Nor does this paper attempt to provide a concordance to critical thought on Dickinson. That, too, is unnecessary. Rather, this paper looks at the relationship between self-identity in Dickinson's poetry and the fundamental need for such a pronounced sense of identity to serve as the cornerstone of feminist criticism. Dickinson's courage to be female and the implications of that courage on her world view are at the core of neofeminist or post-feminist criticism. Dickinson exhibited an independence of mind that broke out of the boxes of cultural constraints developing a strong sense of identity as a woman and as a poet. She expressed a strong moral view of the world solidly grounded in, but often critical of, the Christian tradition. With her strong sense of self, her overarching moral vision, and her disregard for the "oughts" and "shoulds" of her culture, Dickinson held her work to a high standard of significance. Feminist criticism is only now reaching such a standard of significance. As Dickinson achieved personal wholeness and creative integrity through the integration of (not the obliteration or repression of) opposing qualities, feminist criticism, too, must have that same courage to stand firm in the face of powerful opposition and defy social and political pressures to conform. Conforming to a mediocre, and consequently powerless but socially acceptable, integrated position within mainstream criticism places feminist criticism once again on the sidelines waiting for the next popular trend to relegate it even further from the intellectual center.
21
Saraiva, Érica Cristiane. "Visualidades de Luiza Prado: poética da ex-centricidade." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7529.
Full textAbstract:
Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2017-07-03T12:30:06Z
No. of bitstreams: 2
Dissertação - Erica Cristiane Saraiva - 2017.pdf: 2533118 bytes, checksum: e33b51854ab440ca43e20a90c7da99cb (MD5)
license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-07-10T11:39:33Z (GMT) No. of bitstreams: 2 Dissertação - Erica Cristiane Saraiva - 2017.pdf: 2533118 bytes, checksum: e33b51854ab440ca43e20a90c7da99cb (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)
Made available in DSpace on 2017-07-10T11:39:33Z (GMT). No. of bitstreams: 2 Dissertação - Erica Cristiane Saraiva - 2017.pdf: 2533118 bytes, checksum: e33b51854ab440ca43e20a90c7da99cb (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-05-30
This research proposes to analyze cuts of the work of the multidisciplinary artist Luiza Prado (1988 - ). From the analysis of the various visuals used by the artist, which include photoperformance, videoperformance and body art, we seek to understand its creative process and the construction of her poetics. Such poetics emerges from her confrontation with rape, with indigenous heritage, with profanation and with the sacred, so we take into account her construction as an ex-centric subject, the use of the body in her work and the strategies mobilized by the artist in the appropriation of representations, besides the relation with the psychodrama. The first chapter discusses her constitution as an ex-centric subject, the influence of psychodrama, and forms of appropriation as strategy. Secondly, we discuss the use of video as language and political strategy, a media that allows the problematization of the relation between performer and spectator in her works. Finally, we approach Prado's body art and photoperformance as postcolonial and anti-capitalist critique. We take as theoretical references the Critique of Art and Image, Philosophy and Feminist Theory, in dialogue with authors who treat the body as a support of art.
Essa investigação se propõe a analisar recortes da obra da artista multidisciplinar Luiza Prado (1988 -). A partir da análise das diversas visualidades utilizadas pela artista, que incluem a fotoperformance, a videoperformance e a body art, procura-se compreender seu processo criativo e a construção de sua poética. Tal poética emerge a partir de sua confrontação com a violação sexual, com a herança indígena, com a profanação e com a dominação, assim levamos em conta sua construção enquanto sujeito ex-cêntrico, a utilização do corpo em sua obra e das estratégias mobilizadas pela artista na apropriação de representações, além da relação com o psicodrama. No primeiro capítulo discute-se sua constituição como sujeito ex-cêntrico, a influência do teatro terapêutico, e formas de apropriação como estratégia. Em um segundo momento, discutimos o uso do vídeo como linguagem e estratégia política, uma mídia que permite a problematização da relação entre performer e espectador nas obras da artista. Por último, a body art e a fotoperformance de Prado são abordadas enquanto críticas de caráter pós-colonial e anticapitalista. Tomamos como referências teóricas da Crítica de Arte e Imagem, Filosofia e da Teoria Feminista, em diálogo com autores (as) que tratam do corpo como suporte da arte.
22
Lauritis, Beth Anne. "Lucy Lippard and the provisional exhibition intersections of conceptual art and feminism, 1970-1980 /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1925733141&sid=11&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Full text
23
Miller, Rosalena L. "The Feminine Ideal." Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/scripps_theses/17.
Full textAbstract:
While footwear was originally meant to protect the feet and enable the wearer to span larger distances and rough materials, today shoes are often seen as a fashion statement and a sex symbol for women. In his book, Of Cigarettes, High Heels, and Other Interesting Things, Marcel Danesi examines how high heels have moved away from the original purpose of shoes and now “seem to contravene this function. They are uncomfortable and yet millions of women wear them." They have moved from practicality to a sign of femininity, sexuality, and power.
24
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 textAbstract:
This project investigates the apparent contradiction of a female artist who prioritises embodied presence in her art works, but produces Minimalist installations. It does this by describing in detail and analysing, and thus re-evaluating the significance of, the full range of actions and processes that are performed to produce the work. It further proposes that, in the actions of crafting the individual elements and in designing, planning and installing the work in Modernist gallery spaces, conditions are set up for viewers of the finished work to experience a physical awareness that echoes that of the artist in those actions and processes.
25
Boyes, Emma Louise. "The masquerade of the feminine." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16250/.
Full textAbstract:
This project investigates the apparent contradiction of a female artist who prioritises embodied presence in her art works, but produces Minimalist installations. It does this by describing in detail and analysing, and thus re-evaluating the significance of, the full range of actions and processes that are performed to produce the work. It further proposes that, in the actions of crafting the individual elements and in designing, planning and installing the work in Modernist gallery spaces, conditions are set up for viewers of the finished work to experience a physical awareness that echoes that of the artist in those actions and processes.
26
Omar, Abdullahi. "THE REALITIES OF SUBURBAN FEMINISM : A study of feminism in the suburbs of Gothenburg among the immigrant communities." Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-38812.
Full textAbstract:
This study on feminism is a study aimed at understanding a reality within feminism (suburban feminism) in the suburbs of Gothenburg and the underlying factors that contribute to the emergence of this new phenomenon, and why women in the suburbs relate to as an alternative social tool in the quest for better social standings. The research was focused on the 2 major issues and they were (1) the effect of intersectionality on feminism in the suburbs and (2), the effect of internal factors like culture and religion on feminism in the suburbs. Intersectional analysis in my study partly explained the emergence of this new phenomenon (suburban feminism) as a reality within feminism. Cultural shock experienced by the immigrant women when they come Sweden explained also the relevance of cultural polarisation as a factor in the emergence of suburban feminism. The research was done through the qualitative research methods among the immigrant populations living in the suburbs of Gothenburg. The primary research material was the respondent’s experiences and answers to a variety of questions. With the help of several respondents and earlier research done on feminism in the suburbs shows how suburban feminism as a phenomenon emerges and takes shape among the immigrant populations and how this kind of feminism emerges out of the daily challenges ranging from intersectionality, socio-economic setups and several other aspects the respondents refer to as cultural shock between different cultures that have converged in the suburbs. In general, suburban feminism is a phenomenon that emerged out of several factors that range most of them intended for the furtherance and empowerment of women in all spheres of life. The respondent’s answers to the questions fielded in this study together with the earlier research done on feminism and equality in Sweden formed the bedrock on which the study is anchored on. Suburban feminism in my study is a product of social construction different from feminism anchored on theories and this becomes more evident from the answers of my respondents in their understanding of feminism.
27
Rups-Eyland, Annette Maie. "Centre of the storm : in search of an Australian feminist spirituality through performance-ritual." Thesis, View thesis View thesis, 2002. http://handle.uws.edu.au:8081/1959.7/771.
Full textAbstract:
The outward form of the text in which the spiritual search is housed is 'performance-ritual', that is, performed 'ritual'. This genre has its 'performance' roots in the dance pioneers and its 'ritual' roots in the Christian church. The contents of this performed text is influenced by an emerging ecofeminist consciousness. In this way, the thesis has a grassroots inspiration as well as crossing academic areas of performance studies, ritual studies, and feminist spirituality. The project begins by an examination of 20th Century feminist and ecofeminist writing on spirituality, which evokes the subjective, embodied and historically contextualised, with particular focus on body and nature. Additional concepts of place, holding and letting go are introduced. Particular performance-rituals are introduced under the overall heading 'the spiralling journey of exorcism and ecstacy'. They include earlier work, as well as work performed specifically for this thesis, Centre of the Storm. The study re-situates 'ritual' as a subjective, embodied and contextualised performed event. It challenges ritual discourse to incorporate 'spirit', and feminist spirituality to incorporate the material world, through 'place', 'family', and the ritual actions of 'holding' and 'letting go'.
28
Lejtzén, Louise. "I skuggan av mannen." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-28209.
Full textAbstract:
Denna projektredogörelse behandlar hur bildlärare på grundskolans senare år gör sitt urval när de undervisar om konstnärer, sett ur ett genusperspektiv. Genom enkät och intervju har jag undersökt hur 10 bildlärare i Skåne resonerar kring sitt urval, då jag ville undersöka vilken syn på konstnärer inom både äldre och samtida konst som förmedlas idag. I min undersökning har jag kommit fram till att det råder en stor avsaknad av kvinnliga konstnärer i bildundervisningen och att det är få lärare som problematiserar detta tillsammans med sina elever. Med utgångspunkt i konstfeministiska teorier har jag kommit fram till att det urval som bildlärarna gör går emot ett jämställdhetstänkande som enligt skollagen ska vara integrerat i alla ämnen. Jag har valt att gestalta mitt resultat via en installation med bilder på kvinnliga konstnärer inom både äldre och samtida konst, som kan fungera som utgångspunkt för diskussion kring framtida förändringar i bildundervisningen.
29
Bowman, Claire F. "In between the space of you and I." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent16194375647394.
Full text
30
Lavigne, Carlen J. "Mirrorshade women: feminism and cyberpunk at the turn of the twenty-first century." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21937.
Full textAbstract:
This study analyzes works of cyberpunk literature written between 1981 and 2005, and positions women's cyberpunk as part of a larger cultural discussion of feminist issues. It traces the origins of the genre, reviews critical reactions, and subsequently outlines the ways in which women's cyberpunk altered genre conventions in order to advance specifically feminist points of view. Novels are examined within their historical contexts; their content is compared to broader trends and controversies within contemporary feminism, and their themes are revealed to be visible reflections of feminist discourse at the end of the twentieth century. The study will ultimately make a case for the treatment of feminist cyberpunk as a unique vehicle for the examination of contemporary women's issues, and for the analysis of feminist science fiction as a complex source of political ideas.Cette étude fait l'analyse d'ouvrages de littérature cyberpunk écrits entre 1981 et 2005, et situe la littérature féminine cyberpunk dans le contexte d'une discussion culturelle plus vaste des questions féministes. Elle établit les origines du genre, analyse les réactions culturelles et, par la suite, donne un aperçu des différentes manières dont la littérature féminine cyberpunk a transformé les usages du genre afin de promouvoir en particulier le point de vue féministe. Les romans sont examinés dans leurs contextes historiques; leur contenu est comparé aux tendances et controverses de plus grande envergure du féminisme contemporain, et leurs thèmes affichés comme images manifestes du discours féministe à la fin du vingtième siècle. L'étude présentera en fin de compte des arguments appuyant l'approche de la littérature cyberpunk féministe comme véhicule exceptionnel pour l'examen des questions féminines contemporaines et pour l'analyse de la science-fiction féministe en tant que source complexe d'idées politiques.
31
Taylor, Luca F. "Intramural: Within Four Walls." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1557366339698542.
Full text
32
Castro, Laise Lutz Condé de. "O vestir é político: discussões acerca dos ideais de vestuário na imprensa alternativa feminista brasileira nos anos 1975-85." Universidade Federal de Juiz de Fora (UFJF), 2018. https://repositorio.ufjf.br/jspui/handle/ufjf/7117.
Full textAbstract:
Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-08-03T19:07:52Z
No. of bitstreams: 1
laiselutzcondedecastro.pdf: 3714692 bytes, checksum: 6ad7a151ba842a13fc6bcbf6fc39b56d (MD5)Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-08-28T13:43:16Z (GMT) No. of bitstreams: 1 laiselutzcondedecastro.pdf: 3714692 bytes, checksum: 6ad7a151ba842a13fc6bcbf6fc39b56d (MD5)
Made available in DSpace on 2018-08-28T13:43:16Z (GMT). No. of bitstreams: 1 laiselutzcondedecastro.pdf: 3714692 bytes, checksum: 6ad7a151ba842a13fc6bcbf6fc39b56d (MD5) Previous issue date: 2018-04-24
O presente trabalho visa conhecer o que registraram as feministas brasileiras acerca do vestuário e como se davam suas relações com o vestir feminino. Traçando esse processo, procura-se perceber as associações do tema escolhido com os seus ideais e reconhecer as divergências e congruências desses discursos. Considerando o vestuário como engrenagem fundamental na construção de noções de feminilidade hegemônica, é importante ampliar o campo de estudos englobando também as relações das militantes para com a aparência feminina e a categoria feminilidade que ainda hoje é alvo de debates dentro dos movimentos feministas. Para essa dissertação, definiu-se o enfoque na Década da Mulher fundada pela ONU – Organização das Nações Unidas - período compreendido entre os anos 1975-85, a fim de reconhecer as ideias das militantes brasileiras nesse momento, visto a importância dessa data para a promoção de debates acerca da categoria feminina no país. Para conhecer os pensamentos que perpassavam o feminismo brasileiro, recorre-se aqui à imprensa alternativa feminista brasileira, mais especificamente aos jornais Brasil Mulher (1975-80), Nós Mulheres (1976-78) e Mulherio (1981-88) buscando dissecar as mensagens e imagens dos veículos entre os anos de 1975-85. A imprensa feminista alternativa foi deveras responsável por propagar os ideais de algumas vertentes do feminismo brasileiro, além de contribuir efetivamente nos debates acerca da condição feminina.
The present work aims to know what Brazilian feminists registered about clothing and how their relationships with women dressing. By tracing this process, one tries to perceive the associations of the chosen theme with its ideals and to recognize the divergences and congruences of these discourses. Considering clothing as a fundamental cog in the construction of notions of hegemonic femininity, it is important to broaden the field of study, encompassing also the relations of the militants towards the feminine appearance and the femininity category that still today is the subject of debates within the feminist movements. For this dissertation, the focus was defined in the Decade of Women founded by the United Nations - a period between 1975-85, in order to recognize the ideas of the Brazilian militants at that moment, given the importance of this date for the debate on the female category in the country. In order to know the thoughts that pervaded Brazilian feminism, the Brazilian feminist alternative press is used here, more specifically the Brasil Mulher (1975-80), Nós Mulheres (1976-78) and Mulherio (1981-88), seeking to dissect the messages and images of the vehicles between the years of 1975-85. The alternative feminist press was indeed responsible for propagating the ideals of some strands of Brazilian feminism, as well as contributing effectively to the debates about the feminine condition.
33
Koplen, Mary Brett. "Leaving The Garden: Essays." Ohio University Honors Tutorial College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1338575660.
Full text
34
Kicak, Elizabeth. "Goddesses and Doormats." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1680.
Full textAbstract:
The following is a collection of original poetry written over a span of two years while attending the University of South Florida. The poetry is divided into three numbered sections, marking the major thematic divisions. Preceding the poetry is a critical introduction to the work which outlines the author's developing thematic ideology.
35
Chandler, Patricia Elaine. "Aesthetics of healing : joining feminism, autobiography and landscape /." Online version of thesis, 1993. http://hdl.handle.net/1850/11759.
Full text
36
Packer, Carolyn E. "The Evolution of Craft in Contemporary Feminist Art." Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/scripps_theses/23.
Full text
37
Roberts, Rosalie. "Crafting Radical Fictions: Late-Nineteenth Century American Literary Regionalism and Arts and Crafts Ideals." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19668.
Full textAbstract:
This dissertation demonstrates that Sarah Orne Jewett’s The Country of the Pointed Firs (1896), Mary Hunter Austin’s The Land of Little Rain (1906), Kate Chopin’s The Awakening (1899), and Mary Wilkins Freemans The Portion of Labor (1903) exemplify the radical politics and aesthetics that late nineteenth-century literary regionalism shares with the Arts and Crafts Movement. Despite considerable feminist critical accomplishments, scholarship on regionalism has yet to relate its rural folkways, feminine aesthetics, and anti-urban stance to similar ideals in the Arts and Crafts Movement. Jewett, Austin, Chopin, and Freeman all depict the challenges of the regional woman artist in order to oppose the uniformity and conventionality of urban modernity. They were not alone in engaging these concerns: they shared these interests with period feminists, sexual radicals, and advocates of the Arts and Crafts Movement like John Ruskin and William Morris, all of whom deeply questioned industrial capitalism and modernization.
Jewett, Austin, Chopin, and Freeman envisioned women’s Arts and Crafts communities that appealed to readers through narratives that detailed the potential uniqueness of homemade decorative arts and other aspects of women’s material culture. For Arts and Crafts advocates and regionalists, handcrafted goods made using local folk methods and natural materials fulfilled what they saw as the aesthetic requirements for artistic self-definition: The Country of the Pointed Firs and The Land of Little Rain embrace the destabilizing effect queer and feminist characters have on a presumably heterosexual domestic environment, and they formally resist the narrative structures of industrial modernity, emphasizing the Arts and Crafts ideal union between woman artist, natural environment, and communal bonds. The Awakening and The Portion of Labor expose the suffocating impact of industrial capitalism and sexism on women artists who strive for connection with their local environments and communities and cannot achieve their creative goals. I prove that all four texts do more than simply interpret regionalism through the Arts and Crafts Movement as a means to launch their critiques of industrial modernity, they transform the meaning of regionalist Arts and Crafts aesthetics and politics in late nineteenth-century American literature.
38
Nardandrea, Coral H. "Her Name is Albatross." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1490701861485156.
Full text
39
Falkner, Aryanna M. "Dislocations: Short Stories." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1586438288966435.
Full text
40
Birnbaum, Pantzerhielm Clara. "SWIM." Thesis, Konstfack, Textil, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6767.
Full text
41
Seow, Nathalie, and Emilia Hallgren. "Heja Livet – en medvetenhetshöjande grupp där det personliga är politiskt." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22387.
Full textAbstract:
Vilka erfarenheter har enskilda medlemmar av den svenska separatistiska facebookgruppen Heja Livet? Ur ett feministiskt perspektiv har vi genomfört kvalitativa personliga intervjuer vilket gav ett resultat som visar att gruppen bidrar med något betydelsefullt. Det personliga är politiskt och genom att ta del av andras berättelser kan enskilda kvinnor få ett högre feministiskt medvetande som kan bidra till feministiska handlingar. Det visar sig också att gruppen kan fungera som ett stöd i olika frågor för enskilda kvinnor i deras vardag. Vi presenterar ett teoretiskt resultat, omdefinierar innebörden av ett högre feministisk medvetande och argumenterar för att Heja Livet kan ses som en medvetenhetshöjande grupp. Faktumet att de flesta av våra intervjupersoner inte delar med sig av sina erfarenheter i facebookgruppen hotar dock konstruktionen av Heja Livet som en subalternativ offentlighet som utmanar dominerande offentligheter. Den vita medelklass cis-kvinnan är idealet i gruppen och det bristande intersektionella perspektivet gör att vi kritiserar Heja Livet som ett ett lyckat feministiskt projekt.What experiences do individual members have of the Swedish separatist Facebook group Heja Livet? We have conducted qualitative personal interviews from a feminist perspective and have come to the conclusion that the group is contributing with something meaningful. The personal is political and by reading other women’s stories, individual women can achieve a higher feminist consciousness which can contribute to feminist actions. Another finding is that the group can also function as a support in different matters for individual women in their everyday lives. We are presenting a theoretical result, we redefine the meaning of a higher feminist consciousness and argue that Heja Livet can be seen as a consciousness raising group. The fact that most of the interviewed did not share their own experiences in Heja Livet, threatens the construction of the group as a subaltern counterpublic that challenges dominant publics. The white middle class cis-woman is the norm in Heja Livet and we criticize it for not being a successful feminist project because of the lack of an intersectional perspective.
42
Walker, Wendy. "Three Feminist Artists Respond to The Last Supper." Honors in the Major Thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/732.
Full textAbstract:
This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucfBachelors
Arts and Sciences
Humanities
43
Johnson, Pearlie Mae Wahlman Maude. "African American quilts an examination of feminism, identity, and empowerment in the fabric arts of Kansas City quilters /." Diss., UMK access, 2008.
Find full textAbstract:
Thesis (Ph. D.)--Dept. of Art and Art History and Dept. of Sociology. University of Missouri--Kansas City, 2008."A dissertation in art history and sociology." Advisor: Maude Southwell Wahlman. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Feb. 6, 2009. Includes bibliographical references (leaves 202-247). Online version of the print edition.
44
Prociv, Patricia Mary. "Personal identity and the image-based culture of Catholicism." Thesis, View thesis View thesis, 2000. http://handle.uws.edu.au:8081/1959.7/318.
Full textAbstract:
This research is documented in three volumes, and is the study of a series of three Doctoral exhibitions. The first of these, Australian moon over Cumbria and the procession of life, evolved from a series of watercolours based on the biblical figures of Eve and the serpent.The volume contains images and a critique from Australian moon over Cumbria. Also included are images that influenced the work, essays, and information on relevant minor exhibitions. The second, Sisters and spinsters, the Misses Swann of Elizabeth Farm, was designed and executed as site-specific.The Misses Swann were nine sisters, and the exhibition focused on the sisters' working lives, their contribution to their local communities, and their personalities.Needlepoint and damask table napkins were used as vehicles for the storytelling.Critical writings and extensive reference material are included. The third in the series, Constructing identity within Catholicism, was based on the hypothesis that images of the culture of Catholicism have the capacity to influence personal identity. All of the work was designed to complement the design and spiritual meaning of the chapel. Included along with the essays are supporting images and documentation.
45
Daley, Chrysanna R. "The Ceramic Body: Concepts of Violence, Nature, and Gender." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/784.
Full textAbstract:
This thesis is an exploration of the connection between women and nature, specifically the violence that has been inflicted upon them both and how it is interrelated. I positioned my research within the field of Ecofeminism, which critiques the language we (as a Western culture) use to associate women with nature and vice-versa. Traditionally, women are more often associated with nature than men are, and the environment is personified as “Mother Nature”. I argue that uncritically gendering nature as “female” is problematic because of the associations we typically make between the two, and the expectations and values we assign to them based on this association. Nature is historically viewed as inferior to civilization, and women as inferior to men: they are supposedly giving, nurturing, and passive, as opposed to taking, empowered, and active. While the assumption that women are inherently more "connected" to nature is harmful and perpetuates these stereotypes, there is truth in that women, and in fact all oppressed groups (based on race, sexuality, class, ability, etc), share with nature the common history of subordination and inflicted violence by the hegemony.
46
McLaurin, Natalie H. "You are a Weird Bird." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1932.
Full textAbstract:
How a person is treated because of their gender is potentially very frustrating. I use bird plumage patterns to illustrate humans as animals and idioms in language to illustrate these ideas.
The artworks by Natalie McLaurin mentioned in the paper are You didn’t see me, Untitled. Nancy Horne, Don’t be such a Nostradamus Wild Beast, Don’t be such a Nostradamus Man Beast, Don’t be such a Nostradamus Air Beast, Don’t be such a Nostradamus Domesticated Beast, Ballet Lessons, Throwing a Fit and Falling in it, Gravel Kick, Cocksure, Peckerhead, Mockery, Naked as a Jaybird, Naked as a Jaybird too, Naked as a Jaybird as well,Tennessee Trash, Tennessee Trash State Animal, the Raccoon, Beard Measuring Contest, Cockery Mockery, He needs me, Chaka Kahn thinks she is the mocking bird of babes, Territorial Peckerhead, Tennessee, Territorial Peckerhead, Bed-Stuy, and Territorial Peckerhead, 7th Ward.
47
Bednarek, Sarah. "We Believe in Nothing." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1196.
Full text
48
Lopes, Vanessa Biffon 1985. "Contradições entre gênero e classe no teatro de grupo paulistano : a representação poética da mulher no espetáculo A Brava da Brava Companhia /." São Paulo, 2018. http://hdl.handle.net/11449/180435.
Full textAbstract:
Orientador: Lúcia Regina Vieira RomanoBanca: Stela Regina Fischer
Banca: Jade Percassi de Carvalho
Resumo: Esta dissertação tem como objetivo investigar as contradições entre gênero e classe no teatro de grupo paulistano através dos modos de produção e da análise da representação poética da mulher no espetáculo A Brava da Brava Companhia, única peça deste coletivo a colocar em protagonismo uma figura feminina, em contraste com a construção poética das mulheres nos demais espetáculos e experimentos da Cia (O Errante; Este lado para cima; Corinthians, meu amor; Júlio e Aderaldo; Quadratura do Círculo; JC; Show do Pimpão). A Brava Companhia faz parte do movimento de teatro de grupo paulistano, formado por grupos que têm como premissas centrais o trabalho continuado, a pesquisa de linguagem e a relação profícua com o contexto social em que estão inseridos. Foram realizadas entrevistas com a Companhia e, principalmente, com as mulheres, destacando a participação delas nas funções artísticas, administrativas e nas instâncias decisórias do grupo, questionando os poucos registros da atuação feminina na Companhia e considerando que seu modo de produção, incluindo as relações de gênero, reflete diretamente na construção poética. Utilizando algumas teorias do feminismo, ora entrecruzadas com o teatro (ROMANO, 2009; ANDRADE, 2008; VICENZO, 1992) e o teatro épico dialético (DIAMOND, 1997; POLLOCK, 1989), ora com o marxismo e o socialismo (SAFFIOTI, 2014; MORAES, 2000; GOLDMAN, 2014) e também com a história das mulheres (PERROT, 1992; 2015), procurou-se fazer uma leitura feminista da trajetória... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This dissertation aims to investigate the contradictions between gender and class in the São Paulo theater group through the modes of production and analysis of the poetic representation of woman in the play A Brava, the only play of the Brava Company group, which spotlights a female figure in contrast to the poetic construction of women in the other experiments and performances from this company, such as O Errante; Este lado para cima; Corinthians, meu Amor; Júlio e Aderaldo; Quadratura do Círculo; JC; Show do Pimpão. The Brava Company is part of the theater movement of the paulistano group, formed by groups that have, as central beliefs, the continuous work, the language research and the meaningful relation with the social context in which they are placed. Interviews were conducted with the company, mainly with women, in order to highlight the female's participation not only in artistic and administrative roles, but also in group decision-making situations, in a way to question the few records of female performance in the company and to consider how their mode of production, including gender relations, reflects directly on poetic construction. Regarding a few feminist theories, some intertwined with the theater (ROMANO, 2009, ANDRADE, 2008, VICENZO, 1992) and the dialectical epic theater (DIAMOND, 1997, POLLOCK, 1989), and others with marxism and socialism (SAFFIOTI, 2014) and the history of women (PERROT, 1992; 2015), a feminist interpretation of the group trajectory was m... (Complete abstract click electronic access below)
Mestre
49
Gunhee, Kim. "Betweenness. La política entre el arte y la vida: análisis de las obras que crean un debate sobre el feminismo." Doctoral thesis, Universitat de Barcelona, 2021. http://hdl.handle.net/10803/670810.
Full textAbstract:
Este estudio nace de la preocupación feminista por la violencia de género, la pobreza y las asimetrías de presión política sobre las sociedades. La relación entre Arte y sociedad es un hecho que impregna la realidad artística contemporánea con especial vindicación en el feminismo, que ha ido señalando otros valores éticos diferenciales, un ejemplo de ello sería: la solidaridad, como motor de cambio en su objetivo de denuncia y reparación.
Esta investigación comenzó con la creencia de que el arte puede hacer algo por la sociedad y con la preocupación de que el arte no puede hacer nada. La pregunta de “¿El arte nos salva de algo?” conduce a un largo recuestionamiento cuyas respuestas se hilvanan a partir de propuestas y producciones que crearon y produjeron debates sobre el feminismo, en el contexto coreano y europeo. En consecuencia, los trabajos de esta investi- gación se concentran en qué tipo de actitud y posición particular tuvieron y tienen las/os artistas. Para ello se presentan una serie de ejemplos en los que el proceso artístico se convierte en el resultado en una obra de arte, al demostrar la propia política que el artista desarrolla como trabajador del arte, en lugar de dar prioridad a una actitud política ideológica para la producción de la obra. En otras palabras, examinamos que la política de las/os artistas no es la única que puede hacer arte, y esta observación supone que ofrece y da la libertad de ampliar el concepto de identidad de un artista y de cómo ser artista hoy. Al mismo tiempo, se refiere al proceso de mostrar y repensar los limites en el arte, específicamente el límite entre el arte como praxis y el rol de las/os artistas en la sociedad en la que vivimos. En conclusión, el estudio de “Betweenness” es una reflexión del papel político que tienen las/os artistas desde perspectivas no solo feministas sino femeninas. El discurso está estructurado por seis obras que crean interrogantes y abren un debate sobre el feminismo entre ellas y fuera de ellas, y nos permiten pensar sobre como la política de la vida se convierte en arte.This study was born out of feminist concern about gender-based violence, poverty and asymmetries of political pressure on societies. The relationship between art and society is a fact that permeates contemporary artistic reality, with special vindication in feminism, which has been pointing out other differential ethical values, an example of which would be: solidarity, as a motor of change in its objective of denouncing and repairing. This investigation began with the belief that art can do something for society and with the concern that art can do nothing. The question of “Does art save us from anything” leads to a long reexamination whose answers are threaded through proposals and productions that created debates on feminism, both in the Korean and European context. Consequently, this study concentrates on what kind of attitude and particular position the artists had and have. To this end, a series of examples are presented in which the artistic process becomes the result of a work of art by demonstrating the very politics that the artist develops as an art worker, instead of giving priority to a political ideological attitude for the production of the work. In other words, we examine that the politics of artists is not the only one that can make art, and this observation assumes that it offers the freedom to broaden the concept of an artist’s identity and how to be an artist today. At the same time, it refers to the process of showing and rethinking the boundaries in art, specifically the boundary between art as practice and the role of artists in the society we live in. In conclusion, the study of “Betweenness” is a reflection on the political role of artists from not only feminist but also female perspectives. The discourse is structured by six works that create questions and open a debate about feminism among themselves and outside of them, and allow us to think about how the politics of life becomes art.
50
Kapler, Desiree Dawn. "below the neck, above the knees." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4831.
Full textAbstract:
My thesis explores the act of violation in the context of trauma and healing through the use of personal narratives and experimental film. My research allows personal storytelling to transform into a larger and more universal theme of generational trauma and dysfunction. Through a feminist lens, I challenge social norms of body autonomy for the sick and abused, capitalism’s social effects on the poor, and passed down maternal lessons from the women who are doing the best that they can with the lives and opportunities that they have been given.
This work is created in spite of the labels my mother, the women before her, and I may hold. It is an act of resistance to who and what is allowed to be seen or heard. It is my confession, but it is not my confession alone.