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Journal articles on the topic 'Nudes in photographs'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 January 2023

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1

Lass-Hennemann, Johanna, Christian E. Deuter, Linn K. Kuehl, André Schulz, Terry D. Blumenthal, and Hartmut Schachinger. "Effects of stress on human mating preferences: stressed individuals prefer dissimilar mates." Proceedings of the Royal Society B: Biological Sciences 277, no. 1691 (March 10, 2010): 2175–83. http://dx.doi.org/10.1098/rspb.2010.0258.

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Although humans usually prefer mates that resemble themselves, mating preferences can vary with context. Stress has been shown to alter mating preferences in animals, but the effects of stress on human mating preferences are unknown. Here, we investigated whether stress alters men's preference for self-resembling mates. Participants first underwent a cold-pressor test (stress induction) or a control procedure. Then, participants viewed either neutral pictures or pictures of erotic female nudes whose facial characteristics were computer-modified to resemble either the participant or another participant, or were not modified, while startle eyeblink responses were elicited by noise probes. Erotic pictures were rated as being pleasant, and reduced startle magnitude compared with neutral pictures. In the control group, startle magnitude was smaller during foreground presentation of photographs of self-resembling female nudes compared with other-resembling female nudes and non-manipulated female nudes, indicating a higher approach motivation to self-resembling mates. In the stress group, startle magnitude was larger during foreground presentation of self-resembling female nudes compared with other-resembling female nudes and non-manipulated female nudes, indicating a higher approach motivation to dissimilar mates. Our findings show that stress affects human mating preferences: unstressed individuals showed the expected preference for similar mates, but stressed individuals seem to prefer dissimilar mates.

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Lass-Hennemann, Johanna, André Schulz, Frauke Nees, Terry D. Blumenthal, and Hartmut Schachinger. "Direct gaze of photographs of female nudes influences startle in men." International Journal of Psychophysiology 72, no. 2 (May 2009): 111–14. http://dx.doi.org/10.1016/j.ijpsycho.2008.11.001.

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3

Cole, Emily. "Photography magazines and cross-cultural encounters in postwar Japan, 1945-1955." Mutual Images Journal, no. 8 (June 20, 2020): 21–46. http://dx.doi.org/10.32926/2020.8.col.photo.

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This article examines cross-cultural encounters between Japanese and western (European and American) photographers in the immediate postwar period (1945-1955), asking how these encounters influenced Japanese photographic trends. In addition, this article considers what photographic representations of western cultures reveal about postwar constructions of Japanese cultural identity. Building upon recent research framed by conceptions of photography as sites of cross-cultural encounter (see Melissa Miles & Kate Warren), this article argues that photography magazines provided space for consistent exchange between western and Japanese photographers through multiple platforms: interviews and round table discussions of photographic trends; articles on and photo series by western photographers; and images by both western and Japanese photographers depicting western cultural material and landscapes, such as photographs of western-style fashions, domestic space, and daily life in European and American cities. Such encounters directly influenced photographic trends in Japan. Features on European nude photographers popularised nude photography as an art form among Japanese photographers, and works contributed by the likes of Henri Cartier-Bresson, Robert Capa, and Robert Doisneau contributed to a rising interest in photographic humanism. Further, these encounters provided a conduit through which photographers and readers encountered western cultural material at a time when Japan underwent a cultural identity crisis brought on by the devastation of defeat and foreign Occupation. In this way, photography magazines simultaneously functioned as spaces that negotiated what exactly “Japanese culture” meant in Japan’s new postwar world.

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Nyklová, Blanka, and Nina Fárová. "Scenes in and outside the library: Continuity and change in contesting feminist knowledge on the semi-periphery." Sociologija 60, no. 1 (2018): 194–209. http://dx.doi.org/10.2298/soc1801194n.

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Feminist sociological research is well institutionalised in the Czech Republic with two major departments at the Institute of Sociology of the Czech Academy of Sciences. However, it would be wrong to believe that the knowledge produced by them goes uncontested. In the article, we analyse the de-legitimizing strategies used to discredit and denounce such knowledge in two particular cases that entered the media in 2015 and 2017. In the first case, feminist sociologists criticized an exhibition of photographs of nudes presented as part of an event aimed at attracting schoolchildren and youth to science. In the latter case, a Czech documentary director criticized a rhyme, which strictly delineates roles for boys and girls and appears in a Czech reading book. Both the cases were followed by several analyses and comments by Czech gender studies scholars, and articles employing different strategies to specifically denounce feminist knowledge and expertise. Using thematic analysis, we present three strategies used to denounce feminist/gender studies knowledge and to highlight both its local specificities and commonalities with the global and pan-European ?alliance in spirit? identified by Sabine Hark (2017). We conclude by pointing out some local repercussions of the novel ?antigenderism discourse?, its links to other critiques typically found in Central and Eastern Europe and to the pan-European trends.

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Sawant, Shukla. "The Trace Beneath: The Photographic Residue in the Early Twentieth-century Paintings of the “Bombay School”." BioScope: South Asian Screen Studies 8, no. 1 (June 2017): 1–29. http://dx.doi.org/10.1177/0974927617700768.

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This essay examines the interface between the indexical and the gestural, through the practice of early twentieth-century painters active in the Bombay Presidency and adjoining princely states such as Kolhapur and Aundh. It draws upon archival materials such as biographies, memoirs, and photographs documenting artists at work in the studio, as well as remains of posed photographs that were produced as aide-mémoire for paintings. It throws light on the fraught place of photography as aesthetic practice in the art academy, its association with colonial protocols of scientific accuracy, capture and control, and its use to construct suggestive representational hybrids of the anatomical and the painterly outside the academy. The article explores patterns of patronage and of the use of photography in the practices of art production, publication, and exhibition, looking, in particular, at the role of the photographic basis of the portrait painting, and how photography became a supplement to “life-study” or the practice of drawing from nude models. The gendered politics of this interface, between artist, technology, and female model is a recurrent thread of analysis, drawing on critical debates that were published in Marathi periodicals of the time. The article explores the braiding of technologies in artistic practice in different sites, from the academy and the artist’s studio through to publication and exhibition in galleries, and illustrated magazines. While the essay considers a number of artists, including Ravi Varma, Durandhar, and Thakur Singh, it focuses, in particular, on Baburao Painter for his engagement with photography and painting in a career which traversed theater, painting, photography, and film production.

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6

Aguilar, Laura. "Human Nature." Boom 5, no. 2 (2015): 22–27. http://dx.doi.org/10.1525/boom.2015.5.2.22.

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Laura Aguilar’s Nature Self Portraits treat the human body as another feature in landscapes. In the series, Aguilar positions herself in the center of her photographs, nude, often with her back to the camera. The curve of her back echoes the rocks, her black hair in the wind recalls the thin fingers of desert trees. The photographs are at once playful and beautiful, peaceful and provocative. This photo essay includes work from Aguilar’s series, plus a similar work by California photographer Judy Dater, which influenced Aguilar.

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7

Resasco, Agustina, Ana C. Carranza Martin, Miguel A. Ayala, Silvina L. Diaz, and Cecilia Carbone. "Non-aversive photographic measurement method for subcutaneous tumours in nude mice." Laboratory Animals 53, no. 4 (August 21, 2018): 352–61. http://dx.doi.org/10.1177/0023677218793450.

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We have developed a new method for the measurement of subcutaneous tumour volume which consists in taking photographs of mice in their home cages, to refine the standard method of measurement with calipers. We consider this new method to be non-aversive, as it may be more compatible with mice behavioural preferences and, therefore, improve their welfare. Photographs are captured when mice voluntarily go into an acrylic tube containing graph paper that is later used as a scale. Tumour volumes measured with the caliper and the non-aversive photographic method were compared to those obtained by water displacement volume and weight. Behavioural and physiological changes were evaluated to assess animal welfare. Significant differences were found between measurements obtained with the caliper and the non-aversive photographic method, v. the reference volume acquired by water displacement ( P < 0.001). Nevertheless, there was good consistency for these measurements when tumours were measured repeatedly, with all Intra-Class Correlation Coefficients above 0.95. Mice on which the non-aversive photographic method was employed were significantly less reluctant to establish contact with the experimenter ( P < 0.001) and behaved less anxiously in a modified-Novelty Suppressed Feeding test. Particularly, statistically significant differences were found in connection with the latency to eat an almond piece ( P < 0.05), the frequency of grooming ( P < 0.001) and the frequency of defecation ( P < 0.001). Corticosterone concentration in faeces and blood glucose were determined and no significant changes were found. Therefore, we propose the non-aversive photographic method to measure subcutaneous tumours as a way to refine methodologies in the field of experimental oncology.

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8

Gyewon, Kim. "‘How to Photograph Women’: Female Portraits and Nude Photographs in Mid-Twentieth Century Japan." Journal of Korean Modern & Contemporary Art History 38 (December 31, 2019): 191–221. http://dx.doi.org/10.46834/jkmcah.2019.12.38.191.

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9

Wright, Ellen. "Having Her Cheesecake and Eating It." Feminist Media Histories 2, no. 4 (2016): 116–42. http://dx.doi.org/10.1525/fmh.2016.2.4.116.

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Bunny Yeager was a pinup model and photographer who appeared on TV and in exploitation films, while creating pinups and “art” nudes for Playboy, coffee-table books, and how-to publications. She is currently experiencing a revival as part of a subcultural vogue for 1950s and 1960s Americana. In her images she was often both subject and photographer, and her self-reflexive pictures engage with issues of authorship, control, and the sexualized gaze. This text examines Yeager's portraiture, her instructive writing, her representation in the film Bunny Yeager's Nude Camera (1963), and the way she positioned herself when discussing her work, to demonstrate how she embodied a mode of professional and sexual agency that engaged with broader, progressive ideas pertaining to women's labor and identity circulating in 1960s America as part of feminism's second wave.

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Eyre, Sarah, and Xanthe Hutchinson. "Re-touched." Fashion, Style & Popular Culture 8, no. 2 (May 1, 2021): 205–10. http://dx.doi.org/10.1386/fspc_00079_1.

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Re-touched is a collaborative project by collage artist Sarah Eyre and fashion photographer Xanthe Hutchinson. Both artists share an interest in the female body, particularly the notion of pleasure in display and gaze between women and the body. The body of work that forms Re-touched combines photographic and collage methods in order to embody a sense of sensuality through the opening up and enfolding of the female form, on set and through the process of collage. The artists position their work within a framework of feminist theory that questions the binary thinking around the gaze. They draw on the writing of Laura U. Marks to bring a haptic quality to their photographic and collage interventions to the image, and in inviting the viewer to be touched by their images. Through this series of photographic collages, they have established a visual and tactile approach that utilizes the body, is collaborative and re-figures the power structures between model, photographer and viewer. Their images offer a way of rethinking and reshaping representations of the female nude.

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Rexer, Raisa. "Nana in the Nude: Zola and Early Nude Photography." Dix-Neuf 22, no. 1-2 (April 3, 2018): 73–97. http://dx.doi.org/10.1080/14787318.2018.1487172.

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12

Bonney, Claire. "The Nude Photograph: Some Female Perspectives." Woman's Art Journal 6, no. 2 (1985): 9. http://dx.doi.org/10.2307/1357992.

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13

ARARATCÜCEOĞLU, EZGİ. "BEING TOGETHER IN SPENCER TUNICK’S ART IN A TIME OF SELF-ISOLATION DURING COVID-19 PANDEMIC." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 12, no. 3 (July 1, 2022): 655–65. http://dx.doi.org/10.7456/11203100/007.

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This study focuses on the “Stay Apart Together” project, which was carried out by photographer Spencer Tunick, who is known for his nude body installations in public spaces with the participation of many people, during the self-isolation period of 2020, which was the most difficult year of the Covid-19 pandemic. Tunick brought together the participants, who were in quarantine in different parts of the world due to the necessity of staying at home, through online conference platforms in “Stay Apart Together”. The participants posed for their own cameras in line with the directions of the artist. Screenshots of various compositions created with the participation of different numbers of people were taken by Tunick and exhibited as a photograph. In this study, it is aimed to discuss the “Stay Apart Together” in the context of “the effect of art on people during the self-isolation period.” For this purpose, the photographs exhibited in “Stay Apart Together” were examined, and the "naked body" phenomenon, which was the focus of Tunick's artistic approach, was discussed within the framework of the "self- isolation and art" unity. In this project, in addition to the naked bodies of the participants; their houses, the room they live in and their belongings are also included in the image. Therefore, this project forms a basis to evaluate the concepts of "private" and "public" in an artistic framework. In this respect, the project has been considered as a practice in which privacy is transformed into an art object. Moreover, the sociological and psychological effects of an online meeting for art held during a deadly epidemic on the participants and the viewers looking at the resulting photographs were investigated. As a result of the information obtained, “Stay Apart Together” has been evaluated as an example of relational art, showing that the structure of art that contributes to “inter-human collectivism” is kept up-to-date. As a matter of fact, “Stay Apart Together” also contributes to the artistic aspect of the global digital transformation and the transforming art experience in the context of bringing the pandemic to life during the most challenging self-isolation period.

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14

Cui, Shuqin. "The Pregnant Nude and Photographic Representation." Women's Studies 43, no. 8 (November 7, 2014): 993–1021. http://dx.doi.org/10.1080/00497878.2014.955701.

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15

Mirabelli, Eugene. "Looking and Not Looking: Pornographic and Nude Photography." Grand Street 5, no. 1 (1985): 197. http://dx.doi.org/10.2307/25006825.

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16

Müller, Helge, Frauke Knossalla, Lorenz Breuer, Johannes Kornhuber, and Lars Marquardt. "Nude Photography: Abuse, Obsession, Delusion, and Finally Depression." American Journal of Medicine 125, no. 8 (August 2012): e3. http://dx.doi.org/10.1016/j.amjmed.2012.01.031.

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17

McLellan, J. "Visual Dangers and Delights: Nude Photography in East Germany." Past & Present 205, no. 1 (November 1, 2009): 143–74. http://dx.doi.org/10.1093/pastj/gtp040.

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18

Rexer, Raisa. "Baudelaire’s bodies, or redressing the wrongs of nude photography." Word & Image 35, no. 2 (April 3, 2019): 126–40. http://dx.doi.org/10.1080/02666286.2018.1549428.

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19

Thomas, Sara E. "“What Should I Do?”: Young Women’s Reported Dilemmas with Nude Photographs." Sexuality Research and Social Policy 15, no. 2 (December 6, 2017): 192–207. http://dx.doi.org/10.1007/s13178-017-0310-0.

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20

Lizun, Damian, Teresa Kurkiewicz, Mateusz Mądry, Bogusław Szczupak, and Jarosław Rogóż. "Evolution of Liu Kang’s Palette and Painting Practice for the Execution of Female Nude Paintings: The Analytical Investigation of a Genre." Heritage 5, no. 2 (April 20, 2022): 896–935. http://dx.doi.org/10.3390/heritage5020050.

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The comprehensive technical investigation of female nude paintings by the Singapore pioneer artist Liu Kang (1911–2004) provided the evidence for a discussion of the evolution of his palette of colours and his working process for expression in this genre, particularly the execution of female bodies. As the artist’s free expression in classical nude paintings was limited by the censorship imposed by the Singapore government, the investigated artworks span two periods, 1927–1954 (early career) and 1992–1999 (the “golden years”, during which censorship policies were relaxed). Hence, eight paintings from the Liu family and National Gallery Singapore were selected for non- and micro-invasive analyses of the paint layers. The obtained results were supplemented with archival sources to elucidate certain aspects of Liu Kang’s working practice. The investigation revealed the importance of drawing and sketching studies in the development of artistic ideas. The analytical techniques, such as polarised light microscopy (PLM), field emission scanning electron microscope with energy dispersive spectroscopy (FE-SEM-EDS) and attenuated total reflectance–Fourier transform infrared spectroscopy (ATR-FTIR), enabled us to observe a transition from the yellow iron-based tonal ranges of skin colours to complex pigment mixtures composed of additions of cobalt blue, ultramarine, Prussian blue, Cr-containing yellow(s) and green(s), cadmium yellow, orange and/or red and organic reds, revealing the artist’s more liberal use of colours and his experimentation with their contrasting and complementary juxtaposes. In terms of painting technique, the artist’s comparatively laborious paint application using small brushes quickly gave way to a more effortless manipulation of the paint using bigger brushes and the incorporation of palette knives. Moreover, visible light (VIS), near-infrared (NIR) and X-ray radiography (XRR) imaging techniques led to the discovery of a hidden composition in one investigated artwork, which bears resemblance to the nude painting known only from an archival photograph. Additionally, for the first time, the archival search provided photographic evidence that Liu Kang used oil paint tubes from Royal Talens and Rowney in the 1990s. Overall, this in-depth investigation contributes to the understanding of Liu Kang’s approach to the female nude painting and may assist conservators and art historians in studies of twentieth-century commercial paints.

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McDowall, Joseph J. "Erotic, Pornographic, or Obscene: Factors Influencing the Perception of Photographs of the Nude." Empirical Studies of the Arts 26, no. 1 (January 2008): 93–115. http://dx.doi.org/10.2190/em.26.1.g.

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22

Charrier, Philip. "Nojima Yasuzō's primitivist eye: ‘Nude’ and ‘Natural’ in early Japanese art photography." Japanese Studies 26, no. 1 (May 2006): 47–68. http://dx.doi.org/10.1080/10371390600636208.

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23

Brooke, Stephen. "War and the Nude: The Photography of Bill Brandt in the 1940s." Journal of British Studies 45, no. 1 (January 2006): 118–38. http://dx.doi.org/10.1086/497058.

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24

Asen, Robert. "Appreciation and desire: The male nude in the photography of Robert Mapplethorpe." Text and Performance Quarterly 18, no. 1 (January 1998): 50–62. http://dx.doi.org/10.1080/10462939809366209.

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25

Brooks, Ross. "Beyond Brideshead: The Male Homoerotics of 1930s Oxford." Journal of British Studies 59, no. 4 (October 2020): 821–56. http://dx.doi.org/10.1017/jbr.2020.129.

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AbstractLooking beyond the notorious “Brideshead” aesthetes and homoeroticism of 1920s Oxford, this article explores the queer sensibilities of the university's male undergraduates and their associates through the 1930s. Steadily through the decade, Oxford's unique brand of queer aestheticism and same-sex love affairs became embroiled with wider debates about the hegemony of socialism and communism and the supposed degeneracy of standards at Oxford. At the same time, the assimilation of medicalized concepts of perversion and homosexuality increasingly made Oxford's aesthetes and same-sex love affairs objects of critical scrutiny, effeminophobia, and homophobia. For many of the university's queer male undergraduates, the Oxford University Dramatic Society provided a safe haven and a platform for queer expression both in Oxford and beyond. A group of images by the Russian émigré photographer Cyril Arapoff provides further insights into the male homoerotics of 1930s Oxford. Situated within the context of Arapoff's life in the city between 1933 and 1939, his extraordinary photographs of nude and seminude young men offer glimpses into the queer lives and loves at Oxford in a period when such experiences were rarely articulated in written form. The images include the spaces the young men inhabited and their interconnections to London's vibrantly queer dance and theater scene. Such insights help establish more firmly interwar Oxford as an important hub of queer modernism, with national and international import for the course of modern queer history.

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Howells, Christina. "Jean-Luc Nancy and La Peau des images." Body & Society 24, no. 1-2 (March 5, 2018): 166–74. http://dx.doi.org/10.1177/1357034x18760179.

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This article considers Jean-Luc Nancy’s reflections on the nude in painting and photography in the light of his aesthetics, his philosophy of the body and soul, and some of his other writings on portraiture. It explores Nancy’s insistence on skin as the truth behind and beyond which no further meaning waits to be revealed: there are no hidden depths, no secret or sacred truths, nothing is concealed beneath the skin.

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Ogrodnik, Benjamin. "Silenced Images, Fragmented Histories." Feminist Media Histories 5, no. 2 (2019): 211–39. http://dx.doi.org/10.1525/fmh.2019.5.2.211.

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Sharon Green's short film Self Portrait of a Nude Model Turned Cinematographer (1971) represents a collision of incipient cinefeminism and autobiographical filmmaking. Containing a blend of still photographs and subjective moving-image shots of her body, the work has largely been overlooked because of a reductive framing of it as mere homage to male avant-garde artists such as Stan Brakhage, for whom Green was a nude model. By analyzing aspects of visual form, production, and exhibition, this article performs a corrective “microhistory” that reclaims Green's film as an important hybrid of erotic self-portraiture and social critique. It also situates Green in relation to proximate artists Carolee Schneemann and Yvonne Rainer. Despite ongoing neglect of the work, Green's Self Portrait remains a potent visual archive that reveals the power hierarchies of the 1970s film community in Pittsburgh, while it questions the masculinist assumptions that underlie avant-garde media and historiography.

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DOROSH, Olha, Yevhen BUTENKO, Hryhorii KOLISNYK, Andriy DOROSH, and Iryna KUPRIIANCHYK. "THE USE OF UAVS: DEVELOPMENT, PERSPECTIVES AND APPLICATION." AgroLife Scientific Journal 10, no. 2 (December 31, 2021): 63–71. http://dx.doi.org/10.17930/agl202127.

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The article explores some aspects of the use of unmanned aerial vehicles (UAVs), approaches to their classification and possible areas of application. The main advantages and disadvantages of using unmanned aerial vehicles of different types (quadcopter and aircraft type) in comparison with classical aerial photography and ground shooting are revealed. The features of UAV aerial photography at different stages of semi-automatic mode are considered. Aerial photography of a local object (land with vegetation and the building of the NULES of Ukraine building) was performed by a quadcopter with the subsequent acquisition of an orthophoto, a digital model, construction of a 3D image and a further topographic plan of scale 1:500. Surveying materials were proceeded with a specialized Pix4D program. We counted the time needed to perform separate stages of material processing. In this case, all stages of processing were performed in automatic mode, except for entering coordinates of anchor points. The main disadvantage of this program was the need to form a 3D model in manual mode without the possibility of phased saving. The article offers a classification of the main problems of using UAVs, namely: regulatory, technical and scientific. The comparative assessment of the use of technologies of tacheometric survey, terrestrial scanning, lidar and aerial photography with UAV and their use for land cover monitoring purposes was made.

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Everbach, Tracy, and Jenny Mumah. "“They Never Do This to Men”: College Women Athlet’ Responses to Sexualized Images of Professional Women Athletes." Women in Sport and Physical Activity Journal 22, no. 2 (October 2014): 92–99. http://dx.doi.org/10.1123/wspaj.2014-0020.

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This study analyzed the reactions of college women athletes to mass media images of nude and scantily clad professional female athletes. The study focused on interviews of 18- to 22-year-old female athletes about the pressure on women to pose for sexualized photographs. Using a feminist framework, the study found that some of the college athletes rejected socially constructed concepts of femininity, others criticized the professional athletes for posing, and others accepted socially constructed standards of beauty. This research suggests that young women athletes are conflicted by the images of femininity presented by mass media and react in complex ways to them.

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Smither, Devon. "Defying convention: The female nude in Canadian painting and photography during the interwar period." Journal of Historical Sociology 32, no. 1 (March 2019): 77–93. http://dx.doi.org/10.1111/johs.12219.

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Han, Lei, Fengqiang Gao, Xiao Hou, Dianzhao Xie, Min Jou, and Chun-Chiang Huang. "Do covered nude photographs in the internet induce sexual cognition – A study of event-related potential." Computers in Human Behavior 80 (March 2018): 370–78. http://dx.doi.org/10.1016/j.chb.2017.11.039.

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32

Picard, Alyssa. "“To Popularize the Nude in Art”: Comstockery Reconsidered." Journal of the Gilded Age and Progressive Era 1, no. 3 (July 2002): 195–224. http://dx.doi.org/10.1017/s1537781400000232.

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Of all the figures in the struggle over turn-of-the-century vice reform, Anthony Comstock is perhaps the last one might expect to encounter immortalized in the nude. He acquired his fame as a censor of nudity, among other offenses: from 1873 to his death in 1915, Assistant United States Postmaster Comstock lent his name and his enthusiasm for law enforcement to the prosecution of the “Comstock Laws,” the eponymous statutes which restricted the dissemination of vicious images and information through the United States mail. In his government post and as the head of New York City's private Society for the Suppression of Vice, Comstock prosecuted quack physicians, abortionists, lottery runners, purveyors of lewd literature and art, free love advocates and physical culture devotees. By the end of his career, he had arrested more than 3,700 people and burned over fifty tons of obscene books, 3,984,063 obscene pictures, and 16,900 photographic plates.

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Whited, Brandon. "Masculine exposure: Transgressive representations of the male nude in contemporary dance and editorial fashion photography." Queer Studies in Media & Popular Culture 3, no. 2 (June 1, 2018): 213–26. http://dx.doi.org/10.1386/qsmpc.3.2.213_1.

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Armstrong, Carol. "The Reflexive and the Possessive View: Thoughts on Kertesz, Brandt, and the Photographic Nude." Representations 25, no. 1 (January 1989): 57–70. http://dx.doi.org/10.1525/rep.1989.25.1.99p0260y.

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Armstrong, Carol. "The Reflexive and the Possessive View: Thoughts on Kertesz, Brandt, and the Photographic Nude." Representations 25 (January 1, 1989): 57–70. http://dx.doi.org/10.2307/2928467.

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36

Androsoff, Ashleigh. "A Larger Frame: “Redressing” the Image of Doukhobor-Canadian Women in the Twentieth Century." Journal of the Canadian Historical Association 18, no. 1 (June 17, 2008): 81–105. http://dx.doi.org/10.7202/018255ar.

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Abstract The image of a naked “Doukhobor” woman standing before her flame-engulfed home has been used repeatedly to embody the Doukhobors’ difficult adjustment to life in Canada. Here, the author argues that public attention on Doukhobor women’s bodies predates the publication of nude imagery in the middle of the twentieth century. A review of twentieth-century descriptions of Doukhobor-Canadian women reveals that their bodies were subjected to intense public scrutiny from the moment they arrived in Canada in 1899. Publishing descriptions and photographs of Doukhobor women engaged in hard farm labour, doing “women’s work,” wearing traditional ethnic dress, and in partial or total states of undress, the Canadian media significantly shaped “public knowledge” about the Doukhobors by focusing on the peculiarity of Doukhobor women’s bodies.

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37

Kraidy, Marwan M. "The Revolutionary Body Politic: Preliminary Thoughts on a Neglected Medium in the Arab Uprisings." Middle East Journal Of Culture And Communication 5, no. 1 (2012): 66–74. http://dx.doi.org/10.1163/187398612x624382.

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When Aliaa al-Mahdy, a 20-year old student in communication at the American University in Cairo, posted nude photographs of herself on a blog she called “A Rebel’s Diary,” she unleashed one of the most heated polemics to come out of the Egyptian revolution that began on January 25, 2011 and deposed Hosni Mubarak less than one month later. This essay, written in the days after the scandal broke in November 2011, raises preliminary questions about what responses to Aliaa’s defiant act might reveal about revolutionary politics. In the essay I argue that the polemic surrounding Aliaa can be understood in the contexts of other incidents of the Arab uprisings, beginning with Bouazizi’s self-immolation, that invite us to consider, explore and theorize the human body as a vital medium in the Arab uprisings.

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İbrahimhakkıoğlu, Fulden. "Liberalism Unveiled: FEMEN-Muslim Women Debate and the Question of Freedom." Kadın/Woman 2000, Journal for Womens Studies 20, no. 2 (August 15, 2019): 29–42. http://dx.doi.org/10.33831/jws.v20i2.81.

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In 2013, Ukraine-based feminist group FEMEN staged several protests around Europe in support of Amina Tyler, a Tunisian FEMEN activist receiving death threats for posting nude photographs of her online with social messages written on her body. Following these protests, a group of women who call themselves Muslim Women against FEMEN released a an open letter criticizing the discourse FEMEN used in these protests, which they found to be white colonialist and Islamophobic. In this paper, the author examines the discursive strategies put forth by the two sides of the debate, suggesting that undergirding both is a shared framework of liberalism. Exploring the shortcomings of liberalism as drawn on by both positions, the author attempts to rethink what “freedom” might mean for international feminist alliances across differences.

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Parry, Ellwood C. "Thomas Eakins's "Naked Series" Reconsidered: Another Look at the Standing Nude Photographs Made for the Use of Eakins's Students." American Art Journal 20, no. 2 (1988): 53. http://dx.doi.org/10.2307/1594507.

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Kronka, Graziela Zanin. "A Encenação da Nudez Feminina como Prática Intersemiótica (La Mise em Scène de la Nudité Feminine comme Pratique Intersémiotique)." Estudos da Língua(gem) 5, no. 1 (June 30, 2007): 125. http://dx.doi.org/10.22481/el.v5i1.1051.

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O objetivo deste texto é discutir a encenação da nudez feminina em publicações brasileiras voltadas para o público masculino. Pela natureza das revistas analisadas – que incluem textos verbais e fotografias –, adota-se uma perspectiva discursiva verbo-visual. A atividade analítica guia-se, sobretudo, pela concepção de prática intersemiótica – proposta por Maingueneau (1984) –, segundo a qual textos de domínios semióticos diferentes (verbal e não verbal) derivam das mesmas restrições discursivas e, portanto, devem ser interpretados a partir da mesma grade semântica. Interessa observar os efeitos discursivos da encenação da exibição da nudez nesse tipo de publicação.PALAVRAS-CHAVES: Análise do Discurso. Prática intersemiótica. Cenografia discursiva. Imprensa erótico-pornográfica RÉSUMÉL’objectif de ce texte est de discuter la mise en scène de la nudité féminine dans des publications brésiliennes destinées au public masculin. Les magazines analysées incluent des textes verbaux et des photographies, alors l’activité analytique se guide par la conception de pratique intersémiotique - proposée par Maingueneau (1984)-, selon laquelle des textes de domaines sémiotiques différents (verbal et non verbal) dérivent des mêmes restrictions discursives et, donc, ils doivent être interprétés à partir de la même grille sémantique. Il est intéressant d’observer les effets discursifs de la mise en scène de l’exhibition de la nudité sur ces types de publications.MOTS-CLÉS: Analyse du Discours. Pratique intersémiotique. Scénographie discursive. Corps. Presse érotique-pornographique.

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Flores-Villalobos, Joan. "“Freak Letters”." Small Axe: A Caribbean Journal of Criticism 23, no. 2 (July 1, 2019): 34–56. http://dx.doi.org/10.1215/07990537-7703266.

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This essay explores the archival presence of West Indian women in the archives of the Isthmian Canal Commission, the biggest repository of original documents regarding the construction of the Panama Canal. Using a 1909 photograph of a nude black West Indian woman found in a file labeled “Freak Letters,” it considers the difficulties of recovering historical subjects structured by imperial frameworks of productivity and perversity, tracing instead the counternarratives of mobility, affect, and self-determination that might have shaped this black woman’s life. Using this approach, the essay uncovers the archival logic behind “Freak Letters” and recreates the woman’s milieu, highlighting her mobility and diasporic connections. It argues that this woman’s embodied intervention simultaneously confirms and challenges the narratives of US empire that sexualized and limited her. Ultimately, the essay seeks to build an empathetic, archipelagic counterdiscourse as the basis for our explorations of subjects historically silenced or denigrated.

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Jadejiski, Rainei Rodrigues, and Miriã Lúcia Luiz. "A constituição da Escola Estadual de Ensino Fundamental e Médio Pastor Antônio Nunes de Carvalho no município de Alto Rio Novo/ES (1986-2017) / The constitution of the Elementary and Secondary Education State School Pastor Antônio Nunes de Carvalho in the municipality of Alto Rio Novo/ES (1986-2017)." Revista de História e Historiografia da Educação 4, no. 10 (July 2, 2020): 184. http://dx.doi.org/10.5380/rhhe.v4i10.72379.

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O presente artigo insere-se no campo de estudos da História da Educação, de modo amplo e da História das instituições escolares, em particular. Investiga a constituição da Escola Estadual de Ensino Fundamental e Médio “Pastor Antônio Nunes de Carvalho” (1986-2017), localizada no município de Alto Rio Novo-ES, buscando compreender a sua atuação junto ao público local no âmbito do Ensino Médio. Fundamenta-se nos pressupostos de Nosella e Buffa (2016), Silva (2009), Arroyo (1992), Paro (2001), Esteban (2009) e Freire (2013). A metodologia pautou-se no pensamento de Marc Bloch (2001) e Lopes e Galvão (2001) para quem a operação historiográfica baseia-se na multiplicidade e interrogação de fontes. O corpus documental compôs-se de questionários, fotografias e documentos impressos. A escola investigada, no decorrer de seu percurso histórico, assumiu, para os sujeitos escolares, importância basilar no desenvolvimento da criticidade dos estudantes, preparando-os para a vida em sociedade.***This paper is inserted in the broad field of History of Education studies, and in the specific field of History of school institutions. It investigates the constitution of the Elementary and Secondary Education State School “Pastor Antônio Nunes de Carvalho” (1986-2017), located in the city of Alto Rio Novo-ES, seeking to understand its operation with the local public in the High School. It is based on the assumptions of Nosella and Buffa (2016), Silva (2009), Arroyo (1992), Paro (2001), Esteban (2009) and Freire (2013). The methodology was based on the thinking of Marc Bloch (2001), and Lopes and Galvão (2001), for whom the historiographical operation is based on the multiplicity and interrogation of sources. The documentary corpus consisted of questionnaires, photographs and printed documents. The investigated school, during its historical course, assumed, for school subjects, a fundamental importance in the development of students' criticality, preparing them for life in society.

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Karp, Nicholas. "This We’ll Defend: Expanding UCMJ Article 2 Subject Matter Jurisdiction as a Response to Nonconsensual Distribution of Illicit Photographs." University of Michigan Journal of Law Reform, no. 52.2 (2019): 559. http://dx.doi.org/10.36646/mjlr.52.2.this.

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In March 2017, it was revealed that current and former armed service members shared thousands of nude photos of their female counterparts over social media. Although some of these photos were taken with the women’s consent, almost none of them were distributed with the women’s consent. Victims have little legal recourse. Military law is silent on the matter of non-consensual distribution. Federal civilian law speaks only to interstate stalking, domestic violence, and harassment, while only thirty-four states have revenge porn laws that sufficiently criminalize nonconsensual distribution of illicit photographs. Further complicating matters, the perpetrator’s military status as active duty, reservist, or National Guardsman at the time of the crime determines which remaining punitive remedies are available to the victim, if any. Under the current legal framework, two recent developments in U.S. military policy risk opening female service members to additional exposure. First, in 2015, the Department of Defense opened all combat roles to women. Second, and concurrently, the Department began downscaling the military to a smaller, more flexible force increasingly supplemented by its reserve and National Guard (non-active-duty) forces. In light of these developments, the current state of the law poses an unacceptable risk that the growing number of female service members will be subjected to the dual horrors of seeing lewd photos of themselves plastered across the internet, and of seeing the perpetrator walk freely. This Note argues for expanding Article 2 subject matter jurisdiction of the Uniform Code of Military Justice to include all currently contracted members of the U.S. military—active duty, reservist, and guard—in order to bring peace of mind to those female service members willing to fight for peace abroad.

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Flores, Gustavo E. "Systematic revision and cladistic analysis of the Neotropical genera Mitragenius Solier, Auladera Solier and Patagonogenius gen. n. (Coleoptera: Tenebrionidae)." Insect Systematics & Evolution 30, no. 4 (1999): 361–96. http://dx.doi.org/10.1163/187631200x00516.

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AbstractThe genera Mitragenius, Auladera and Patagonogenius gen. n. (Pimeliinae: Nycteliini), distributed in Argentina and central Chile, are revised and a cladistic analysis including 20 species is conducted. The cladistic sequence revealed that former Mitragenius is polyphyletic, requiring removal of seven species to a new genus, described herein as Patagonogenius. Mitragenius comprises nine species: M. tristis Kulzer, M. costatus Kulzer, M. araneiformis Curtis, M. coarcticollis Fairmaire, M. nudus Berg, M. hirtulus Kulzer, M. planicollis sp. n., M. obscuratus Peña and M. dejeanii Solier. Auladera includes four species: A. crenicosta (Guérin), A. andicola (Lacordaire), A. rugicollis (Philippi & Philippi) stat. rev. andA. atronitens Kulzer. Patagonogenius comprises seven species: P. breviangulus (Kulzer) comb. n., P. gentilii (Peña) comb. n., P. quadricollis (Fairmaire) comb. n. (type species), P. collaris (Kulzer) comb. n., P. acutangulus (Kulzer) comb. n., P. kulzeri (Marcuzzi) comb. n. and P. elegans (Peña) comb. n. Mitragenius pusillus Marcuzzi is synonymized with Patagonogenius collaris (Kulzer) and Auladera andicola rugicollis (Philippi & Philippi) is elevated to species status. The paper includes a cladogram, a discussion of the phylogeny of the three genera, redescriptions or descriptions of the three genera and of their 20 species, four dichotomous keys, habitus photographs, drawings of genitalic features and distribution maps.

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Rossi, Leena. "Alastomuuden oikeutus: Julkistettujen alastonvalokuvien moderneja ideaaleja Suomessa 1900–1940 [Legitimation of Nudity: modern ideals in nude photographs published in Finland between 1900 and 1940]." Scandinavian Journal of History 34, no. 2 (June 23, 2009): 214–16. http://dx.doi.org/10.1080/03468750902880185.

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McDiarmid, Lucy. "A Box for Wilfrid Blunt." PMLA/Publications of the Modern Language Association of America 120, no. 1 (January 2005): 163–80. http://dx.doi.org/10.1632/003081205x36921.

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This essay analyzes the testimonial occasion organized by Lady Gregory, Yeats, and Pound to honor the poet and anti-imperialist Wilfrid Scawen Blunt (1840–1922). On 18 January 1914, Blunt welcomed six younger poets to his house in Sussex, where they dined on a peacock culled from his flock. At the ritual center of the meal was the presentation to Blunt of a marble box containing his guests’ poems; on the top of the box, designed by Gaudier-Brzeska, was a reclining nude woman. The dinner had a double purpose: to construct a poetic genealogy that would give meaning to a distinctly masculine literary tradition and to make that genealogy visible. Accounts of the event were planted in four journals, and the famous photograph, with the tall, impressively bearded Blunt surrounded by his scions, appears in all the poets’ biographies. With its potent combination of homosocial intimacy and artistic glamour, the “peacock dinner” claimed an important place in its participants’ memories and resonated in their writing for many years.

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Schraeyen, Senne. "Teken onder weerstand: Over de tekenpraktijk van Matthew Barney en Michelangelo." Forum+ 26, no. 1 (March 1, 2019): 48–54. http://dx.doi.org/10.5117/forum2019.1.schr.

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Abstract Net zoals een kunstenaar als Michelangelo Buonarroti (1476-1564) zich profileerde als beeldhouwer, schilder, architect en poëet, laveert Matthew Barney (1967) moeiteloos tussen verschillende hedendaagse kunstvormen.Het oeuvre van de Amerikaanse kunstenaar Matthew Barney bestaat uit performance, fotografie, tekeningen, designobjecten en film. Niet toevallig werd hij in 1989 door een kunstcriticus omgedoopt tot “De Michelangelo van de genitale kunst”. Dit had niet alleen te maken met de vele naakte atletische lichamen in zijn oeuvre. De verwantschap tussen Barney (1967) en Michelangelo (1476-1564) is groter dan men zou verwachten. Senne Schrayen trekt in dit artikel een parallel tussen de lopende performancereeks Drawing Restraint (gestart in 1987) van Barney en de presentatietekeningen van Michelangelo uit 1532 vanuit een transhistorische invalshoek en met aandacht voor het maakproces van de tekeningen. Just as Michelangelo Buonarroti (1476-1564) worked as a sculptor, painter, architect and poet, Matthew Barney (1967) switches smoothly between various contemporary art forms. The oeuvre of this US artist includes performance, photography, drawing, design and film. Not coincidentally an art critic, writing in 1989, dubbed him 'The Michelangelo of genital art' and this was not just because of the many athletic nudes that people his oeuvre. The parallels between Barney (1967) and Michelangelo (1476-1564) are greater than one might think. In the article Senne Schrayen makes a comparison between Barney's current series of performances (started in 1987) called Drawing Restraint and Michelangelo's drawings of 1532 from a transhistorical perspective and giving close attention to the process of making the drawing.

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Chittenden, Tara. "Sexing up the secondary art curriculum: a strategy for discussing Robert Mapplethorpe's photographs of S&M and the black male nude in art classrooms." International Journal of Education Through Art 5, no. 2 (December 1, 2009): 157–67. http://dx.doi.org/10.1386/eta.5.2and3.157/1.

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Simonari, Rosella. "Alberto Spadolini's Box: Dance, Silence and the Archive." Dance Research 38, no. 2 (November 2020): 311–29. http://dx.doi.org/10.3366/drs.2020.0316.

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The Italian dancer and painter Alberto Spadolini was rediscovered when a box containing numerous documents relating to his artistic life was recovered in 1978 by his nephew, Marco Travaglini. This box forms the core of the archive assembled by Travaglini since 2004, containing valuable information about his uncle who had been largely-neglected. Spadolini (1907–1972) was born in Ancona, Italy, studied in Rome during the 1920s and moved to France in the 1930s. In 1932, he became a famous music-hall dancer performing in solo numbers and group works with Josephine Baker and Mistinguett, among others. Throughout the decade he came to be known as ‘the nude dancer’, possibly owing to the skimpy costumes he usually wore and his statuesque body. From the 1940s he began painting a series of works featuring ballerinas in tutus. He never spoke to his nephew about his life as dancer, so that when Travaglini found the box, he was amazed at what he discovered. The box constitutes a precious archive, containing photographs, posters, articles, and reviews relating to Spadolini's career as a dancer and painter. I intend to analyse Spadolini's box using methodological tools from archive studies and from dance and cultural history, with particular attention to the concept of cultural hegemony, in order to establish the fundamental importance of such archives to the recovery of neglected figures like Spadolini.

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Nascimento, Lucas, and Tania Clemente de Souza. "Imagetic syntax, polychromy and metaphoric extension in a G magazine photography: an experimental eye-tracking reading study." Revista Linguíʃtica 16, Esp. (November 7, 2020): 727–53. http://dx.doi.org/10.31513/linguistica.2020.v16nesp.a43734.

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Through an unpublished experiment on eye-tracking, we highlight the syncretic multimodality reading as the object of study, specifically the polysemy as a semantic phenomenon of visual perception as a general objective. In a situation of reading digital photography from Brazilian magazine magazines (G Magazine), eye movements were constructed reading paths, with effects of (dis)order of the image and senses of the look (reading gestures). These pathways are results (gaze plot, heat map and pairwise comparisons) of Brazilian university readers. The rationale for choosing specific group data (heterosexual men) is based on the average yes response to the question Is there nudity in the image? (found on the last slide of the experiment). The no responses were from the other five participating groups (homosexual men, bisexual men, homosexual women, bisexual women, heterosexual women). The justification is also given by the heat map and ‘p’ value of this group heterosexual men indicate pairwise comparisons, in relation to the areas of interest: right model underwear, drag queen’s face-wig-bust, Dicesar’s face, drag sandal queen, right model face. The proposal of analysis shares theoretical knowledge by adopting for analysis the dimensions of the various facets of the construct (construction of meaning, Ferrari, 2016, Ferrari et al., 2017) and the semantic-discursive relationship (Pêcheux, 1982, 1983, 2000, 2001, 2011, 2013, 2018) in visual perception of reading digital photograph of advertising cover, in May 2010 issue, of an erotic magazine. The article invests on the metaphorical extensions resulting and dependent on the construction of movement caused, whose construction depends on the existence of polychromy in digital photography, which allows the drive to correspond in the consequent ocular movement, occurrence by the desire of the change of visual direction. This plot has its correspondence in the interpretation that ensures the elaboration of the answer yes or no before the question proposed in the imagery reading experiment.---------------------------------------------------------------------------SINTAXE IMAGÉTICA, POLICROMIA E EXTENSÃO METAFÓRICA EM UMA FOTOGRAFIA NA REVISTA G MAGAZINE: UM ESTUDO EXPERIMENTAL DE LEITURA USANDO RASTREAMENTO OCULARPor meio de um experimento inédito sobre leitura de imagem por rastreamento ocular (eye-tracking), destacamos a leitura de multimodalidade sincrética como objeto de estudo, especificamente a polissemia como fenômeno semântico de percepção visual como objetivo geral. Em situação de leitura de fotografia digital de revista publicitária brasileira (G Magazine), movimentos oculares realizados construíram percursos de leitura, com efeitos de (des)ordem da imagem e sentidos do olhar (gestos de leitura). Esses percursos são resultados (gaze plot, heat map e pairwise comparisons) de leitores universitários brasileiros. A justificativa de escolha de tais dados de grupo específico (homens heterossexuais) se baseia pela média de resposta sim, em relação à pergunta Há nudez na imagem? (que se encontrava no último slide do experimento), se apresentar diferente da média das respostas não dos demais cinco grupos participantes (homens homossexuais, homens bissexuais, mulheres homossexuais, mulheres bissexuais, mulheres heterossexuais) e pelo heat map e valor de p desse grupo homens heterossexuais indicar pairwise comparisons, em relação às áreas de interesse: cueca do modelo direito, rosto-peruca-busto da drag queen, rosto do Dicesar, sandália da drag queen, rosto do modelo direito. A proposta de análise compartilha conhecimentos teóricos ao adotar para análise as dimensões das várias facetas do construal (construção do significado, Ferrari, 2016; Ferrari et al., 2017) e a relação semântico-discursiva (Pêcheux, 1982, 1983, 1984; Souza, 2000, 2001, 2011, 2013, 2018) em percepção visual de leitura de fotografia digital de capa publicitária, em edição de maio de 2010, de uma revista de erotismo. O artigo investe sobre as extensões metafóricas resultantes e dependentes da construção de movimento causado, cuja construção depende da existência da policromia na fotografia digital, que permite a pulsão corresponder no consequente movimento ocular, impulsionado pelo desejo da mudança de direção visual. Essa trama tem sua correspondência na interpretação que assegura a elaboração da resposta sim ou não diante da questão proposta no experimento de leitura imagética.---Original em inglês.

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