The Male Gaze Interpretive Guide
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Depopulation: on the Logic of Heidegger's Volk
Research research in phenomenology 47 (2017) 297–330 in Phenomenology brill.com/rp Depopulation: On the Logic of Heidegger’s Volk Nicolai Krejberg Knudsen Aarhus University [email protected] Abstract This article provides a detailed analysis of the function of the notion of Volk in Martin Heidegger’s philosophy. At first glance, this term is an appeal to the revolutionary mass- es of the National Socialist revolution in a way that demarcates a distinction between the rootedness of the German People (capital “P”) and the rootlessness of the modern rabble (or people). But this distinction is not a sufficient explanation of Heidegger’s position, because Heidegger simultaneously seems to hold that even the Germans are characterized by a lack of identity. What is required is a further appropriation of the proper. My suggestion is that this logic of the Volk is not only useful for understanding Heidegger’s thought during the war, but also an indication of what happened after he lost faith in the National Socialist movement and thus had to make the lack of the People the basis of his thought. Keywords Heidegger – Nazism – Schwarze Hefte – Black Notebooks – Volk – people Introduction In § 74 of Sein und Zeit, Heidegger introduces the notorious term “the People” [das Volk]. For Heidegger, this term functions as the intersection between phi- losophy and politics and, consequently, it preoccupies him throughout the turbulent years from the National Socialist revolution in 1933 to the end of WWII in 1945. The shift from individual Dasein to the Dasein of the German People has often been noted as the very point at which Heidegger’s fundamen- tal ontology intersects with his disastrous political views. -
The Impact of the Male Gaze and the Final Girl on Theatrical Conflict
Murray State's Digital Commons Liberal Arts Capstones College of Humanities and Fine Arts 12-2016 Rivalry in Toyer: The Impact of the Male Gaze and the Final Girl on Theatrical Conflict Sento Ashby Murray State University Follow this and additional works at: https://digitalcommons.murraystate.edu/lbacapstone Part of the Dramatic Literature, Criticism and Theory Commons Recommended Citation Ashby, Sento, "Rivalry in Toyer: The Impact of the Male Gaze and the Final Girl on Theatrical Conflict" (2016). Liberal Arts Capstones. 6. https://digitalcommons.murraystate.edu/lbacapstone/6 This Dissertation/Thesis is brought to you for free and open access by the College of Humanities and Fine Arts at Murray State's Digital Commons. It has been accepted for inclusion in Liberal Arts Capstones by an authorized administrator of Murray State's Digital Commons. For more information, please contact [email protected]. Rivalry in Toyer : The Impact of the Male Gaze and the Final Girl on Theatrical Conflict D. Vincent “Sento” Ashby Transcribed by Ardee Tebeal LBA 438 December 2016 ________________________________________ Matthew Crider, Mentor, Theatre ________________________________________ Dr. Barbara Cobb, Mentor, LBA Coordinator Table of Contents Selective Perceptions Influenced by Gender Norms 1 Phallocentrism, Iron Man 2, and Acting Method 2 Iron Man 2 3 Selective Perception and Gender Roles in “The Legends of Tomorrow” 8 Selective Perception 8 Feminism and Superheroes 13 The Final Girl 13 Batman v. Superman 14 Advertisement for X-Men: Apocalypse 16 Relevance of Current Literature to Stage Combat 16 Introduction to Toyer 17 Peter 17 Maude 21 The Male Gaze versus the Final Girl 24 References 27 Abstract Although much progress has been made in recent years, traditional gender roles still permeate society. -
Can We All Really Have It? Loving Gaze As an Anti-Oppressive Beauty
The Perfect Bikini Body: Can We All Really Have It? Loving Gaze as an Anti-Oppressive Beauty Ideal Forthcoming in Thought: A Journal of Philosophy (please cite the final version) Abstract In this paper I ask whether there is a defensible philosophical view according to which every body is beautiful. I review two purely aesthetical versions of this claim. The No Standards View claims that every body is maximally and equally beautiful. The Multiple Standards View encourages us to widen our standards of beauty. I argue that both approaches are problematic. The former fails to be aspirational and empowering, while the latter fails to be sufficiently inclusive. I conclude by presenting a hybrid ethical-aesthetical view according to which everybody is beautiful in the sense that every body can be perceived through a loving gaze (with the exception of evil individuals who are wholly unworthy of love). I show that this view is inclusive, aspirational and empowering, and authentically aesthetical. As soon as the summer season approaches, the internet is inundated with articles and slideshows with such titles as: “37 Totally Perfect Bikini Bodies. Rule No.1: there are no rules”1 or “9 Stunning Bodies That Shatter Society’s Stereotypes About the ‘Perfect’ Body”.2 These popular articles are ultimately grounded in the feminist imperative of dismantling sexist and oppressive aesthetic norms that harm women3 in a myriad of ways, among which: damaging their self-esteem and affecting their psychological and physical health, exposing 1 https://www.buzzfeed.com/kirstenking/all-your-perfect- imperfections?utm_term=.aoxkvwvz2#.qwJzDJD9G Last accessed on 02/16/2017. -
Returning the Radiant Gaze: Visual Art and Embodiment in a World of Subjects Beth Carruthers Emily Carr University of Art + Design
The Goose Volume 17 | No. 1 Article 32 9-14-2018 Returning the Radiant Gaze: Visual art and embodiment in a world of subjects Beth Carruthers Emily Carr University of Art + Design Part of the Continental Philosophy Commons, Environmental Studies Commons, Fine Arts Commons, Metaphysics Commons, Other Philosophy Commons, Social and Cultural Anthropology Commons, and the Theory and Criticism Commons Follow this and additional works at / Suivez-nous ainsi que d’autres travaux et œuvres: https://scholars.wlu.ca/thegoose Recommended Citation / Citation recommandée Carruthers, Beth. "Returning the Radiant Gaze: Visual art and embodiment in a world of subjects." The Goose, vol. 17 , no. 1 , article 32, 2018, https://scholars.wlu.ca/thegoose/vol17/iss1/32. This article is brought to you for free and open access by Scholars Commons @ Laurier. It has been accepted for inclusion in The Goose by an authorized editor of Scholars Commons @ Laurier. For more information, please contact [email protected]. Cet article vous est accessible gratuitement et en libre accès grâce à Scholars Commons @ Laurier. Le texte a été approuvé pour faire partie intégrante de la revue The Goose par un rédacteur autorisé de Scholars Commons @ Laurier. Pour de plus amples informations, contactez [email protected]. Carruthers: Returning the Radiant Gaze BETH CARRUTHERS Returning the Radiant Gaze: Visual art and embodiment in a world of subjects Published by / Publié par Scholars Commons @ Laurier, 2018 1 The Goose, Vol. 17, No. 1 [2018], Art. 32 There is a place on -
The Consumption of the Male Gaze in Queer Pages
ARE WE KILLING THE BOYS HARSHLY? THE CONSUMPTION OF THE MALE GAZE IN QUEER PAGES Aron Lee Christian Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Master of Arts in the Department of Communication Studies Indiana University August 2010 Accepted by the Faculty of Indiana University, in partial fulfillment of the requirements for the degree of Master of Arts. ___________________________________ Elizabeth M. Goering, Ph.D. Chair ___________________________________ Catherine A. Dobris, Ph.D. Master’s Thesis Committee ___________________________________ Kristine B. Karnick, Ph.D. ii Dedication I dedicate this thesis to the idea of change—the type of change that Anne Frank wrote about in her diary. Frank left a legacy that echoes the world over in which she tells us, “How wonderful it is that nobody need wait a single moment before starting to improve the world.” While this thesis took many moments of my life to complete, it is my hope that this research causes a moment for those that come across it. In that moment, I hope your world changes. I hope you reach out to improve the human condition for any that have been persecuted or been discriminated against for simply being who they are. If you have been one of the persecuted many, I hope you find strength in realizing that there are individuals fighting for you, and I hope that strength guides you to help others. Above all, I dedicate this work to those who find the fortitude and hopeful ambition of creating a better tomorrow one moment at a time. -
Children of Genius: Affirmation of Will in Schopenhauer's Aesthetics
Georgia State University ScholarWorks @ Georgia State University Philosophy Theses Department of Philosophy 5-9-2019 Children Of Genius: Affirmation Of Will In Schopenhauer's Aesthetics Clare Mauney Follow this and additional works at: https://scholarworks.gsu.edu/philosophy_theses Recommended Citation Mauney, Clare, "Children Of Genius: Affirmation Of Will In Schopenhauer's Aesthetics." Thesis, Georgia State University, 2019. https://scholarworks.gsu.edu/philosophy_theses/249 This Thesis is brought to you for free and open access by the Department of Philosophy at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Philosophy Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. CHILDREN OF GENIUS: AFFIRMATION OF WILL IN SCHOPENHAUER’S AESTHETICS by CLARE MAUNEY Under the Direction of Jessica Berry, PhD ABSTRACT While Schopenhauer is well-known for his pessimistic outlook on life, I argue that not all aspects of his philosophical project support this outlook. Specifically, I argue that Schopenhauer’s aesthetic genius must necessarily affirm life through artistic creation. To show that this is the case, I contend that the aesthetic genius’ engagement with the world of representation precludes him from engaging in the denial of the will-to-live, and that his desire to communicate his knowledge of the world entails an affirmation of the will-to-live. I furthermore outline and explore significant parallels between artistic creation -
RAMIREZ, LOURDES, MA Alfonso Cuarón's Problematic Portrayal of Female Figures in Y Tu Mamá También and Roma
RAMIREZ, LOURDES, M.A. Alfonso Cuarón’s Problematic Portrayal of Female Figures in Y tu mamá también and Roma. (2020) Directed by Dr. Laura Chesak. 61 pp. The purpose of this work is to analyze the problematic portrayal of female figures in two Mexican films by Alfonso Cuarón: Y tu mamá también (2001) and Roma (2018). I will examine how Cuarón shapes and presents his female characters’ identities as they attempt to emancipate themselves and self-actualize from the hold imposed on them due to societal constraints, such as stereotypical gender roles, class differences, and the domestic spaces that they inhabit. In order to establish this connection, I have supported my work with Laura Mulvey’s male gaze theory and Kimberlé Crenshaw’s intersectional feminism. While Cuarón is known for his feminist filmography, this critique will offer a different take on his female figures to identify the problematic ways in which he has represented them. ALFONSO CUARÓN’S PROBLEMATIC PORTRAYAL OF FEMALE FIGURES IN Y TU MAMÁ TAMBIÉN AND ROMA by Lourdes Ramirez A Thesis Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Master of Arts Greensboro 2020 Approved by ___________________________ Committee Chair APPROVAL PAGE This thesis written by LOURDES RAMIREZ has been approved by the following committee of the Faculty of The Graduate School at the University of North Carolina at Greensboro. Committee Chair ___________________________ Committee Members ___________________________ ___________________________ ____________________________ Date of Acceptance by Committee __________________________ Date of Final Oral Examination ii TABLE OF CONTENTS Page CHAPTER I. -
SPECULUM MENTIS Or the Map of Knowledge
Questions de recherche, 5 octobre 2017: « Aber ist das eine Antwort? » (Heine) : On Questioning in, by, and about Literature Christine Weder, Département de langue et de littérature allemandes Heinrich Heine: Gedichte 1853 und 1854: Traduction (Saint-René Taillandier):H. Heine: Le Livre de Lazare (1854): Heinrich Heine: Historisch-kritische Gesamtausgabe der Werke, hg. v. Manfred Windfuhr, Band 3/1, S. 198 (dt.), S. 294 (franz.) SPECULUM MENTIS or The Map of Knowledge by R. G. COLLINGWOOD- OXFORD AT THE CLARENDON PRESS [1924] Reprint London et al. 1946 CONTENTS PAGE PREFACE 9 I. PROLOGUE 15 -11. SPECULUM MENTIS 39 Ill. ART I. Art as pure Imagination 58 2. The Work of Art 63 3. The Monadism of Art 68 4. Meaning in Art 13 5. Knowledge as Question and Answer 76 6. Art as a form of Error 80 7. The Dialectic of Art . 91 8. Play 102 IV. RELIGION I. The Transition from Art to Religion 108 2. The Growth of Religion Il2 3. Religion and its Object Il7 4. Symbol and Meaning in Religion 122 5. Convention 134 6. The Task of Religion 138 7. The Transition from Religion to the Life of Thought 146 V. SCIENCE I. The Life of Thought._ 154 2. Science as the assertion of the Abstract Concept 158 3. A priori or Deductive Science 163 4. Utility or Abstract Ethics . 169 5. Empirical or Inductive Science 176 6. Science as Supposal 180 7. Science as the Intuitive Form of Thought 188 8. Understanding and Reason 195 8 CONTENTS VI. HISTORY PAGE I. History as the Assertion of Fact . -
Drag Performance and Femininity: Redefining Drag Culture Through Identity Performance of Transgender Women Drag Queens
Minnesota State University, Mankato Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato All Graduate Theses, Dissertations, and Other Graduate Theses, Dissertations, and Other Capstone Projects Capstone Projects 2017 Drag Performance and Femininity: Redefining Drag Culture through Identity Performance of Transgender Women Drag Queens Cristy Dougherty Minnesota State University, Mankato Follow this and additional works at: https://cornerstone.lib.mnsu.edu/etds Part of the Gender, Race, Sexuality, and Ethnicity in Communication Commons, Lesbian, Gay, Bisexual, and Transgender Studies Commons, and the Women's Studies Commons Recommended Citation Dougherty, C. (2017). Drag Performance and Femininity: Redefining Drag Culture through Identity Performance of Transgender Women Drag Queens [Master’s thesis, Minnesota State University, Mankato]. Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. https://cornerstone.lib.mnsu.edu/etds/730/ This Thesis is brought to you for free and open access by the Graduate Theses, Dissertations, and Other Capstone Projects at Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in All Graduate Theses, Dissertations, and Other Capstone Projects by an authorized administrator of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. Drag Performance and Femininity: Redefining Drag Culture through Identity Performance of Transgender Women Drag Queens By Cristy A. Dougherty A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts In Communication Studies Minnesota State University, Mankato Mankato, Minnesota July 2017 Title: Drag Performance and Femininity: Redefining Drag Culture through Identity Performance of Transgender Women Drag Queens Cristy A. -
The Disjunctive Aesthetics Af Myth and Empathy in Thea Angelopaulas' Ulysses Gaze Vrasldas Karalls
The Disjunctive Aesthetics af Myth and Empathy in Thea Angelopaulas' Ulysses Gaze Vrasldas Karalls 77ze true is inimitable, the false un transformable. Robert Bresson j) As a Prelude In his insightful study on Theo Angelopoulos' cinema, Andrew Horton posits an extremely crucial question about the director's visual strategies in order to establish creative empathy between his audience and his epic cinema of 'contemplation': "while Angelopoulos often refers to Brecht and the need for an audience to think as well as feel in theater and cinema, we do not experience anything close to what could be called an 'alienation effect' in Brechtian terms. To the contrary, the mixture of theatricality and reality in his films often leads us into a deeper, fuller emotional bond with the film - one that, we could say, embraces our thinking mind as well".1 In our opinion, this premise needs qualifications and some further discussion in order to better appreciate the formal and visual techniques employed by Angelopoulos to transport his viewer through imaginative empathy into the levels of meaning that themselves establish and denote. For this purpose we will attempt a close look at one of his most 'epic' films, Ulysses' Gaze (1995), in order to examine the creative dilemmas of the artist in an era of intense commercialisation of cinema and of the absence of political projects for artistic renewal. 1 I lorton. Andrew, (1997: 14-15) The Films ofTheo Angelopoulos. A Cinema ofContemplation. Princeton University Press. Princeton New Jersey. Vrasidas Karalis, -
Computational Aesthetics Based on Gaze Patterns
ISAMA BRIDGES The International Society of the Mathematical Connections Arts, Mathematics, and Architecture in Art, Music, and Science Computational Aesthetics Based On Gaze Patterns Gary R. Greenfield Department of Mathematics & Computer Science University of Richmond Richmond, VA 23173, U.S.A. [email protected] Abstract Generative art systems usually rely on the technique of user-guided evolution to enable "artists" to interactively search through populations of images in order to breed those images which show aesthetic promise. We consider algorithmic criteria for automating the aesthetic evaluation step. Our criteria are inspired by a recent description of techniques used for controlling the aesthetic reorganization of photorealistic imagery. Surprisingly, our approach seems to impose a rigid style on the images we evolve. A drawback to our method is that eventually it fails to clearly differentiate between non-degenerate and degenerate images. We consider how improvements might be made. 1. Introduction It is difficult to formulate general purpose aesthetic metrics for visual imagery. The human visual system is both complex and sophisticated. Moreover, human aesthetic decision making is subject to cognitive and cultural biases. To date, there appear to be a limited number of examples where aesthetic evaluation of images by computational means has been wholly successful. At one extreme lie simple generative systems whose underlying objective is to color the squares within a relatively small rectangular grid using only a limited number of colors. In this caSe reasonable metrics for identifying aesthetic qualities such as balance, symmetry, and pattern have been studied [9] [16]. At the other extreme lie specialized generative systems supporting the narrowly defined "styles" of individual artists. -
The Male Gaze and the (In)Visible Bodies of Muslim Women—A Response Article
Journal of International Women's Studies Volume 19 | Issue 2 Article 14 Jan-2018 Lost in Translation: The aleM Gaze and The (In)visible Bodies of Muslim Women - A Response Article Ewa Glapka Follow this and additional works at: http://vc.bridgew.edu/jiws Part of the Women's Studies Commons Recommended Citation Glapka, Ewa (2018). Lost in Translation: The aleM Gaze and The I( n)visible Bodies of Muslim Women - A Response Article. Journal of International Women's Studies, 19(2), 215-229. Available at: http://vc.bridgew.edu/jiws/vol19/iss2/14 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. This journal and its contents may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. ©2018 Journal of International Women’s Studies. Lost in Translation: The Male Gaze and The (In)visible Bodies of Muslim Women—A Response Article By Ewa Glapka1 Abstract This article explores women’s relationship with the patriarchal surveillance of their bodies—‘the male gaze’. Going beyond the scholarly tradition of solely critiquing the patriarchal discourse of the female body, the study examines the processes in which individuals relate to the male gaze by means of socio-culturally available meaning-making resources. The analysis is based on interviews with Muslim women in South Africa who talk about their hijab practices and thus position themselves to the patriarchal discourses of Islam and West.