From Medieval Ages to Postmodernism: Nudity in Video Art
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The American Trend of Female Pubic Hair Removal: Exploring A
THE AMERICAN TREND OF FEMALE PUBIC HAIR REMOVAL: EXPLORING A POPULAR CULTURE BODY MODIFICATION by BETH A. WEIGLE (Under the Direction of José Blanco F.) ABSTRACT Various cultures have used constructed knowledge, social standards, and aesthetic preferences to determine how to manipulate and treat each type of hair on a person‟s body, including pubic hair. Depilation and/or trimming of pubic hair, increasingly being used by contemporary western cultures, could be considered a highly normative practice (Toerien, Wilkinson & Choi, 2005). The purpose of this study was to explore factors that influence the recent development of American women‟s decision to depilate and/or trim the pubic region. Twenty American women between the ages of 18 and 57 participated in an online survey. Data was analyzed using a grounded theory approach, which consisted of a two-step process involving coding and memo- writing. The study determined that depilation of pubic hair is a growing practice amongst American women. This change in pubic hair grooming practices is related with an increased presence of pubic hair discussion among individuals as well as in popular culture. INDEX WORDS: Pubic hair, Depilation, Dress, Media THE AMERICAN TREND OF FEMALE PUBIC HAIR REMOVAL: EXPLORING A POPULAR CULTURE BODY MODIFICATION by BETH A. WEIGLE B.S., The University of Georgia, 2007 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF SCIENCE ATHENS, GEORGIA 2009 © 2009 Beth A. Weigle All Rights Reserved THE AMERICAN TREND OF FEMALE PUBIC HAIR REMOVAL: EXPLORING A POPULAR CULTURE BODY MODIFICATION By BETH A. -
Reviewed Books
REVIEWED BOOKS - Inmate Property 6/27/2019 Disclaimer: Publications may be reviewed in accordance with DOC Administrative Code 309.04 Inmate Mail and DOC 309.05 Publications. The list may not include all books due to the volume of publications received. To quickly find a title press the "F" key along with the CTRL and type in a key phrase from the title, click FIND NEXT. TITLE AUTHOR APPROVEDENY REVIEWED EXPLANATION DOC 309.04 4 (c) 8 a Is pornography. Depicts teenage sexuality, nudity, 12 Beast Vol.2 OKAYADO X 12/11/2018 exposed breasts. DOC 309.04 4 (c) 8 a Is pornography. Depicts teenage sexuality, nudity, 12 Beast Vol.3 OKAYADO X 12/11/2018 exposed breasts. Workbook of Magic Donald Tyson X 1/11/2018 SR per Mike Saunders 100 Deadly Skills Survivor Edition Clint Emerson X 5/29/2018 DOC 309.04 4 (c) 8 b, c. b. Poses a threat to the security 100 No-Equipment Workouts Neila Rey X 4/6/2017 WCI DOC 309.04 4 (c) 8 b. b Teaches fighting techniques along with general fitness DOC 309.04 4 (c) 8 b, c. b. Is inconsistent with or poses a threat to the safety, 100 Things You’re Not Supposed to Know Russ Kick X 11/10/2017 WCI treatment or rehabilitative goals of an inmate. 100 Ways to Win a Ten Spot Paul Zenon X 10/21/2016 WRC DOC 309.04 4 (c) 8 b, c. b. Poses a threat to the security 100 Years of Lynchings Ralph Ginzburg X reviewed by agency trainers, deemed historical Brad Graham and 101 Spy Gadgets for the Evil Genuis Kathy McGowan X 12/23/10 WSPF 309.05(2)(B)2 309.04(4)c.8.d. -
The Nude Figure in Renaissance Art Thomas Martin
19 The Nude Figure in Renaissance Art Thomas Martin The establishment of the nude as an independent and vital subject in post-antique western art occurred during the Renaissance and is, along with the use of perspective, one of the most important markers differentiating Renaissance art from medieval art. One factor driving these innovations was the desire to portray a world that conforms to visual reality, where objects decrease in size as they move away from the picture plane, and where human anatomy is rigorously understood. Just as Renaissance artists employed perspective to portray naturalistic spaces, so they also populated those spaces with proportional, anatomically accurate figures and, during the course of the fifteenth and sixteenth centuries, the occasions when those figures were depicted nude occurred more and more frequently. Naturalism, however, was but one motive for the increased use of the nude, and by the first half of the 1500s, the naked body had achieved a wider and more varied presence in art than had been the case in the Middle Ages or even in antiquity where, with few exceptions, its use was confined to male athletes, heroes, and divinities. This essay will focus on two issues: where is the nude used – i.e., what are its locations – and what are the meanings of its uses? As it is today, the body in the Renaissance was multivalent. European Christian society believed that as a cause of lust and sin, the body was fearful and needed to be covered up. Yet at the same time it was the form the Savior, Jesus Christ, took during his lifetime, and the Catholic Church taught that it is in our very own earthly bodies that, after the last trumpet, we will spend eternity either in bliss in Heaven or in despair in Hell. -
Eduard Vuillard: Exploring the Limits of Intimism Belinda Thomson Henri
Eduard Vuillard: Exploring the Limits of Intimism Belinda Thomson Henri de Toulouse-Lautrec’s “Femmes de Maison”: The “Back” Story Richard Thomson April 1, 2010 Dallas Museum of Art Horchow Auditorium Olivier Meslay: Good evening, and welcome the Dallas Museum of Art’s Late Night and to this evening’s lecture. I am Olivier Meslay, Senior Curator for European and American Art and the Barbara Thomas Lemmon Curator for European Art here at the DMA, and it’s my privilege to introduce you to tonight’s speakers, Belinda and Richard Thomson, as part of our Richard R. Brettell Lecture Series. Richard and Belinda Thomson will speak not together, but successively. They will enlighten us, commenting on works from the collection of another formidable couple, Wendy and Emery Reves, as part of a year-long celebration of the jubilee of the Reves Collections coming to Dallas Museum of Art. Belinda Thomson is now an independent art historian and an Honorary Fellow at the University of Edinburgh. She curated many exhibitions on both sides of the ocean. Belinda shares with Richard interests for some same artists, but had focused more on the later generation with artists like Vuillard and Bonnard. She will talk tonight on “Vuillard: Exploring the Limits of Intimism.” Vuillard is one of the artists best represented in our collection with six paintings, two in the Reves Collection, one given by Mrs. Margaret McDermott, one given by Mr. and Mrs. Barron Kidd, and another by the Bromberg family and one by the Meadows Foundation. I do not mention the works on paper, drawings, and prints and it would be a real pleasure to learn more about them. -
Naked and Unashamed: a Study of the Aphrodite
Naked and Unashamed: A Study of the Aphrodite Anadyomene in the Greco-Roman World by Marianne Eileen Wardle Department of Art, Art History and Visual Studies Duke University Date:_______________________ Approved: ___________________________ Sheila Dillon, Supervisor ___________________________ Mary T. Boatwright ___________________________ Caroline A. Bruzelius ___________________________ Richard J. Powell ___________________________ Kristine Stiles Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosopy in the Department of Art, Art History and Visual Studies in the Graduate School of Duke University 2010 ABSTRACT Naked and Unashamed: A Study of the Aphrodite Anadyomene in the Greco-Roman World by Marianne Eileen Wardle Department of Art, Art History and Visual Studies Duke University Date:_______________________ Approved: ___________________________ Sheila Dillon, Supervisor ___________________________ Mary T. Boatwright ___________________________ Caroline A. Bruzelius ___________________________ Richard J. Powell ___________________________ Kristine Stiles An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosopy in the Department of Art, Art History and Visual Studies in the Graduate School of Duke University 2010 Copyright by Marianne Eileen Wardle 2010 Abstract This dissertation presents a study of the Aphrodite Anadyomene type in its cultural and physical contexts. Like many other naked Aphrodites, the Anadyomene was not posed to conceal the body, but with arms raised, naked and unashamed, exposing the goddess’ body to the gaze. Depictions of the Aphrodite Anadyomene present the female body as an object to be desired. The Anadyomene offers none of the complicated games of peek-a- boo which pudica Venuses play by shielding their bodies from view. Instead, the goddess offers her body to the viewer’s gaze and there is no doubt that we, as viewers, are meant to look, and that our looking should produce desire. -
Court of Appeals Muskingum County, Ohio Fifth Appellate District
COURT OF APPEALS MUSKINGUM COUNTY, OHIO FIFTH APPELLATE DISTRICT JUDGES: STATE OF OHIO : Hon. W. Scott Gwin, P.J. : Hon. Patricia A. Delaney, J. Plaintiff-Appellee : Hon. Earle E. Wise, J. : -vs- : : Case No. CT2018-0041 EARL F. BRONKAR, JR. : : Defendant-Appellant : OPINION CHARACTER OF PROCEEDING: Criminal appeal from the Muskingum County Court of Common Pleas, Case No. CR2017-0243 JUDGMENT: Reversed and Vacated DATE OF JUDGMENT ENTRY: April 5, 2019 APPEARANCES: For Plaintiff-Appellee For Defendant-Appellant D. MICHAEL HADDOX ELIZABETH GABA Prosecuting Attorney 1231 East Broad Street BY: GERALD ANDERSON Columbus, OH 43205 27 North Fifth St., Box 189 Zanesville, OH 43702-0189 Muskingum County, Case No. CT2018-0041 2 Gwin, P.J. {¶1} Appellant Earl F. Bronkar, Jr. [“Bronkar”] appeals his conviction and sentence after a no contest plea in the Muskingum County Court of Common Pleas. Facts and Procedural History {¶2} On June 12, 2017, Bronkar was at the Muskingum County Job and Family Services office using a computer. An employee walked by the printer and found pages with images of nude children on it. Bronkar was found to be on a computer displaying a website with nude children on it. Bronkar was told to leave. The employee took the images to her boss and eventually the police were called. The police found Bronkar had a binder with five or seven pages each with multiple images printed on them of nude children and adults. The pictures did not involve the children engaging in sexual activity. (T. Aug. 18, 2017 at 17-18; 24). The pictures did not depict close-ups of the children’s genitalia. -
Submission Australian Film and Literature Classification Scheme
Submission on the Australian Film and Literature Classification Scheme to the Senate Legal and Constitutional Affairs Committee Department of the Senate Parliament House PO Box 6100 Canberra ACT 2600 Telephone: 02 6277 3560 Facsimile: 02 6277 5794 Email: [email protected] Website: www.aph.gov.au/senate/committee/legcon ctte by FamilyVoice Australia 5 February 2011 TABLE OF CONTENTS 1. Introduction ....................................................................................................................... 1 2. The use of serial classifications for publications - TOR (a) .......................................... 1 3. National standards for the display of restricted publications and films - TOR (b) .... 2 3.1 Display of restricted publications ................................................................................................... 2 3.2 Display of R18+ films ...................................................................................................................... 4 4. The enforcement system – TOR (c) ................................................................................. 5 5. The interaction between the National Classification Scheme and customs regulations – TOR (d) ................................................................................. 6 6. The role of artistic merit in classification decisions – TOR (e) ..................................... 6 7. The impact of X18+ films, including their role in the sexual abuse of children – TOR (f) ..................................... 8 8. The -
The Revolutionary Potential of the Nude Selfie
Structured to move from a particular controversy—Kim Kardashian’s nude selfie—to the larger questions it raises, Milne’s essay stages a conversation between critics about the relationship of photography to gender and self- presentation in the twenty-first century. (Instructor: Lane Anderson) NO LONGER A PASSIVE SUBJECT: THE REVOLUTIONARY POTENTIAL OF THE NUDE SELFIE Amelia Milne To be on display is to have the surface of one’s own skin, the hairs of one’s own body, turned into a disguise which, in that situation, can never be discarded. The nude is condemned to never being naked. Nudity is a form of dress. — John Berger, Ways of Seeing (54) n the televised Ways of Seeing , visual arts theorist and critic John Berger speaks about fine art, focusing on depictions of female nudity. Although photography is arguably the primary visual medium through which we now communicate, many of IBerger’s theories about the interaction of art, subject, and audience are still applicable. Berger begins Ways of Seeing by explaining that women were the principal and enduring subject of nude paintings. He delineates between simply being naked and being nude in the context of aesthetic art. Whereas being naked allows a woman to be wholly herself, being nude renders her as a sight to be seen by another who is dressed. According to Berger, “a nude has to be seen as an object in order to be a nude” (“Episode 2”). Most nudes have been lined up for the pleasure and judgment of a male proprietor; those who are judged beautiful become owned and available. -
The Modern Museum of Art
CutBank Volume 1 Issue 8 CutBank 8 Article 36 Spring 1977 The Modern Museum of Art Alvin Greenberg Follow this and additional works at: https://scholarworks.umt.edu/cutbank Part of the Creative Writing Commons Let us know how access to this document benefits ou.y Recommended Citation Greenberg, Alvin (1977) "The Modern Museum of Art," CutBank: Vol. 1 : Iss. 8 , Article 36. Available at: https://scholarworks.umt.edu/cutbank/vol1/iss8/36 This Prose is brought to you for free and open access by ScholarWorks at University of Montana. It has been accepted for inclusion in CutBank by an authorized editor of ScholarWorks at University of Montana. For more information, please contact [email protected]. Alvin Greenberg THE MODERN MUSEUM OF ART Because we have not scheduled our trip to coincide with free Tuesday at the Modern Museum of Art, we buy our tickets, check our coats, and enter. Pretentious in its own way, this is at least not one of those yet more pretentious museums which ask you to make up your own mind how much to pay and then coyly suggest how much you ought to pay. This museum, we are aware as we walk hand in hand across the lobby to the plate glass windows that look out onto the sculpture garden, is forthright and honest in its pretentiousness. It invites you out into its gardens — “enter,” it says, “here” — and the invitation is taken for granted. There’s a couple screwing at the foot of Rodin’s “Homage to Victor Hugo,” for example, and no one but us seems to be paying them the least bit of attention. -
Sex Censorship: the Assumptions of Anti-Obscenity Laws and the Empirical Evidence" (1962)
University of Minnesota Law School Scholarship Repository Minnesota Law Review 1962 Sex Censorship: The Assumptions of Anti- Obscenity Laws and the Empirical Evidence Robert B. Cairns James C.N. Paul Julius Wishner Follow this and additional works at: https://scholarship.law.umn.edu/mlr Part of the Law Commons Recommended Citation Cairns, Robert B.; Paul, James C.N.; and Wishner, Julius, "Sex Censorship: The Assumptions of Anti-Obscenity Laws and the Empirical Evidence" (1962). Minnesota Law Review. 2209. https://scholarship.law.umn.edu/mlr/2209 This Article is brought to you for free and open access by the University of Minnesota Law School. It has been accepted for inclusion in Minnesota Law Review collection by an authorized administrator of the Scholarship Repository. For more information, please contact [email protected]. 1009 Sex Censorship: The Assumptions of Anti-Obscenity Laws and the Empirical Evidencet In the following Article, a lawyer and two behavioral scientists explore the consequences of exposure to ob- scenity. Their main purpose is to summarize the empiri- cally demonstrated effects of psychosexual stimuli. In doing so, the authors examine and analyze the behavior- al science investigations in this area. The Article points out that the effects of sexual stimuli have rarely been studied in adequately controlled experimental investiga- tions. This situation, of course, makes definite conclusions impossible. The authors, however, do evaluate that which is available and these evaluations will provide the reader with further insight into the problem at hand. Robert B. Cairns* James C. N. Paul** Julius Wishner*** While concepts of "obscenity" may be very old, albeit ambigu- ous, most English and American laws on the subject are com- paratively recent: they are of Nineteenth Century origin, and they *Assistant Professor, Department of Psychology, Indiana University. -
IN the SUPREME COURT of TENNESSEE at KNOXVILLE January 27, 2016 Session
IN THE SUPREME COURT OF TENNESSEE AT KNOXVILLE January 27, 2016 Session STATE OF TENNESSEE v. THOMAS WHITED Appeal by Permission from the Court of Criminal Appeals Appeal from the Criminal Court for Knox County No. 100430 Steven Wayne Sword, Judge _____________________________ No. E2013-02523-SC-R11-CD – Filed November 7, 2016 _____________________________ A jury convicted the defendant on nine counts of especially aggravated sexual exploitation of a minor, one count of attempt to commit that offense, thirteen counts of observation without consent, and one count of attempt to commit that offense. The convictions arose out of the defendant‘s hidden-camera videotaping of his twelve-year- old daughter and her teenage friend while they were in various stages of undress. The trial court sentenced the defendant to an effective sentence of twenty-two years. In a divided opinion, the Court of Criminal Appeals affirmed his convictions and sentence. In determining that the hidden-camera videos constituted prohibited child pornography under the child sexual exploitation statutes, the Court of Criminal Appeals relied in part on the six specific factors set forth in United States v. Dost, 636 F. Supp. 828 (S.D. Cal. 1986), sometimes referred to as the ―Dost factors.‖ The defendant now appeals his nine convictions for especially aggravated sexual exploitation of a minor, and he also challenges his sentence. We hold that, under the three child sexual exploitation statutes, Tennessee Code Annotated sections 39-17-1003, -1004, and -1005 (2014), the content of the prohibited material is judged by the same standard, regardless of whether the accused produced it, distributed it, or merely possessed it. -
View Exhibition Catalogue
The Untitled Space gallery is pleased to present “SECRET GARDEN: The Female Gaze on Erotica” a group exhibition of female identifying artists exploring figurative works of nudes and erotic art. Curated by Indira Cesarine, the exhibit will be on view from June 27 – July 30 and will include works of painting, drawing, photography, printmaking, pottery, sculpture, collage, mixed media and video. The exhibit title is inspired by the book, “My Secret Garden”, published in 1973 by sex positive feminist author Nancy Friday who was instrumental in addressing taboos revolving around female sexuality in the early 70s and an important figure of the feminist sexual liberation movement. Through historical works of pioneering feminist artists such as Betty Tompkins and Joan Semmel, to that of emerging contemporary female artists such as Andrea Mary Marshall, Myla Dalbesio, India Munuez, Katie Commodore, and Leah Schrager, SECRET GARDEN presents works by taboo shattering artists who fearlessly address sexual themes in their art and celebrate freedom of expression. Along with the legalization of birth control in the 1960’s came a profound shift in attitudes towards women’s sexuality and the freedom of sexual expression. The sexual revolution celebrated the erotic as a normal part of life, and denounced conservative attitudes that it should be repressed by a patriarchal society, religion or state. From a feminist perspective the movement focused on a woman’s right to choose her sexual partners and preferences free from outside interference or judgment. As women’s sexuality was redefined, many artists of the era, including Betty Tompkins and Joan Semmel, addressed these themes in their works, and fought against censorship and oppression.