This study investigated the mediating roles of self-acceptance and self-esteem in the relationship between body image dissatisfaction and impulse buying, and tested the moderating effect of gender on the relationships. A sample of 374 college students and graduate students participated in the study. Results revealed that body image dissatisfaction positively associated with impulse buying; self-esteem plays a mediating role between body image dissatisfaction and impulsive buying; a serial indirect pathway emerged; the mediation path from (...) self-acceptance to self-esteem was stronger for female than that from male. The results underscore the importance of identifying the mechanisms that moderate the mediated path between body image dissatisfaction and impulse buying among students. These findings point to the potential implications about how to reduce impulse buying through improving body image satisfaction. (shrink)

In this paper, I offer a situated perspective on the political and semiotic landscapes of the circulation of racist and antiracist images and texts in and around a dark-skinned female character, Adelaide, in the popular Brazilian TV show Zorra Total. I aim to differ and defer the character as a sign, in order to undermine the character’s hegemonic frame of interpretation. First, I contextualize some resources used in a typical episode, including the character’s performance as a trajectory of racist (...) signs about the black woman’s body. Next, I discuss the contemporary circulation of the character, confronted by the experience of discussing this character in an undergraduate classroom. In conclusion, I argue that by exposing trajectories of the black female body, it is possible to gather together its fragmented signs as a multi-layered and overlapping set, and I identify these trajectories as a blind spot in the history of Brazilian racism. (shrink)

This article analyses Jeanette Winterson's Written on the Body, discussing its use of the female body as a text and, more specifically, as a palimpsest. The article aims to demonstrate that the novel's genderless narrator uses the beloved's body as a palimpsest since in trying to celebrate it, s/he is unable to depict it as it is and merely inscribes a set of meanings onto it. The female body is described through two major sets (...) of images: as a landscape, via a colonial language, and as a diseased body, via an anatomical language. The article discusses this particular use of the female body as a traditional way of describing it, which is confirmed by the novel's wide use of literary references from canonical texts. The novel, then, appears to be positioned outside a feminist or lesbian tradition, since it is not able to represent the female body in a new and fertile way and draws too much on an all-male literary tradition, configuring itself as a palimpsest just like the body it is trying to describe. (shrink)

This article critiques contemporary feminist theory's frequent ocularcentric readings of the anorexic body as a surface of cultural inscription or as a paradigmatic sign of the female body's alienation through sexual difference. In an initial speculative attempt to find a theoretical framework that might sustain a more generative and embodied account of anorexia, I read anorexia through Butler's theory of gender as psychic `incorporation' because she problematizes an interior/exterior topography of the subject. This Butlerian framework proves problematic (...) because, by establishing an association between visibly queer gender and subversion, it effectively designates as hegemonic any sense of gender as a felt interiority. In a second framework, I draw on Prosser's anti-ocularcentric reading of transsexual `body narratives' derived from Anzieu's theory of the `skin ego'. Filtering Butler's theory of melancholia through this skin ego framework, I find a theoretical space for anorexia as a transitional embodied subjectivity which both re-lives and relieves the melancholic trauma of gender. (shrink)

The contentious topic of female circumcision brings together medical science, women’s health activism, media, and national and international policy-making in pursuit of the common goal of eradicating such practices. Referring to these diverse and heterogeneous practices as ‘female genital mutilation’ (FGM), eradicators have then condemned them as ‘barbaric’ and medically harmful to female bodies and sexuality. In presuming that bodies can be separated from their cultural contexts, the anti-FGM discourse not only replicates a nature/culture dualism that has (...) been roundly questioned by feminists in science studies and cultural studies, but has also perpetuated a colonialist assumption by universalizing a particular western image of a ‘normal’ body and sexuality in its quest to liberate women and girls. I use my own story as a circumcised woman to highlight the entanglements of body and culture as presented in these feminist theories of female bodies. (shrink)

This study explored the relationship between both overall television viewing and romantic youth drama viewing, as well as of females’ concerns about boys’ attractiveness expectations on the one hand, and body image dissatisfaction on the other. Participants were 411 adolescent girls who completed self-report measures on body dissatisfaction, television viewing, and concerns about appearance expectations. Our results indicated that there was both a direct and indirect relationship between romantic youth drama viewing and body satisfaction. Girls who (...) spent more time watching romantic youth drama displayed lower levels of body satisfaction. In addition, romantic youth drama viewing had a significant positive impact on concerns about boys’ attractiveness expectations, which had an indirect effect on body satisfaction. (shrink)

This paper makes a number of observations on soteriology, asceticism and the female body in two Indian Buddhist narrative. The first story examined is about the enlightenment of the Buddhist saint Yasas from a collection of verses know as the Anavatapta-gatha, or Songs of Lake Anavatapta. This narrative graphically describes a rotting female corpse and associates this physical corruption with the female body in general. The second story is about a mythical girl from the ancient (...) past found in the Mahayana scripture, the Gandavyuha-sutra. The female protagonist is described as exceedingly beautiful and her beauty functions as a sign of her spiritual superiority and as a means to aid beings. After a summary of these two tales, their soteriological presuppositions are discussed. Next,the effect of Buddhist soteriology upon the construction of gendered bodies in Indian Buddhism is considered. The author argues that the first story represents an ascetic soteriology that sees the female body as corrupt, while the second story displays an alternative devotional soteriology that extols female beauty as linked to virtue and as efficacious for religious development. The paper concludes with the suggestion that the narratives employing the image of the corrupt female body were meant for a male monastic audience; while the Gandavyuha with its devotional soteriology may have been composed with a royal female audience in mind. Thus target audience should be considered when studying Indian Buddhist narratives. (shrink)

Recent studies have shed light on how the COVID-19 pandemic changed our lives, and most of them have documented its detrimental effect on eating habits. Until now, the effects of this global crisis on negative body image and its association with disordered eating behaviors remain largely understudied. This study aimed to investigate changes in frequency of disordered eating behaviors and negative body image among a community sample of women during the COVID-19 pandemic. Furthermore, we explored the (...) possible relation between body image-related variables and changes in the frequency of disordered eating behaviors in the context of the pandemic. A total of 161 self-identified female participants enrolled in an online-based survey. Descriptive statistics showed that women did not report clinically significant levels of weight and body shape concerns, but participants reported being dissatisfied with their body. One sample Wilcoxon Signed Rank tests revealed a tendency toward an increasing of the frequency of all disordered eating behaviors during the COVID-19 pandemic. Multinomial logistic regressions showed that weight concerns predicted an overall increase in the frequency of restrictive eating behaviors, whereas higher body dissatisfaction was associated with a moderate self-perceived increase in the frequency of emotional eating. These results shed light on a risk pattern of phenomena in a non-clinical sample of women, as they represent the key risk factors for the development of eating disorders. Findings could have implications for designing and implementing prevention programs. (shrink)

As a conceptual approach in art practice, the female body has represented both a cultural barrier and a source of inspiration throughout art history. The adoption of the female body as an art theme is prevalent across many different artistic movements, using varying conceptual approaches. Women struggle against paradigms of inferiority to this day, though their individual cultural identity varies according to their society’s beliefs and customs – for example, many contemporary Middle Eastern cultures and customs (...) are based on a patriarchal past, when men wielded power over women. Women all over the world experience subjugation to varying degrees in the fields of employment, education, sexuality and reproductive choice. The female body in Middle Eastern societies is a red line that artists are not allowed to cross. Though many Middle Eastern civilizations have dealt freely with the female body, as can be seen in the paintings and sculptures of ancient Egypt, many social and religious factors made the female body taboo in most Middle Eastern cultures. However, on close scrutiny of modern art history in Middle Eastern and Islamic countries, we can identify outstandingly courageous female artists who succeeded in breaking the rules. They chose to express themselves through their own own form of art as an expression of freedom. They chose to use their own bodies as an art medium, which made them pioneers in their countries, and many female artists followed their example. Media art has flourished in Arab countries since the 1990s, especially in Egypt. Many of these female artists distinguished themselves as pioneers, aligning themselves with new art forms and challenging the prevailing stereotypical notion of the female artist at that time. This new mode of female self-expression and identity has developed over time and remains an ongoing process in the twenty-first century. This article considers how Middle Eastern female media artists have struggled to transform stereotypes of women by using their own bodies as an artistic element, and how they have expressed the concept of freedom through their self-body image. (shrink)

This article presents the results of a study concerning the impact of physical changes accompanying female puberty. It examines the meanings these changes have for the girls themselves, as well as for their mothers and fathers. The hypothesis, essentially rooted in psychoanalytical theory, is that the reactions of mothers and fathers to the bodily changes of their daughter communicate messages about these changes that, in turn, impact on the girl’s perception and experience of her body. These messages are (...) influenced by the often unconscious desires, fantasies and fears of the adults as well as by societal gender images. Depending on how adult care providers confront the psychic issues raised by their daughter’s adolescence and, in turn, how they interact with their daughter during her transition to adulthood, these psychic events may either serve to perpetuate societal gender images or offer a means of revising them. (shrink)

There has been an increase in research that focuses on female adolescents and adult women concerns relating to body image and dieting concerns. However, research on body and dieting concerns of specifically pre-adolescents is still a neglected area of research in comparison with female adolescents and adult women. Pre-adolescents are either research participants as part of a group, which includes younger children, or part of a group of adolescents. This article addresses the body and (...) dieting concerns of pre-adolescent females as a group on their own. A qualitative study was conducted, and data were collected by using a vignette with semi-structured questions. The data were analysed by using a thematic analysis. The results indicated that although the girls presented a ‘polite’ discourse that all girls should be accepted irrespective of weight, when they were futher engaged with during the interviews this was not reflective of their world view. Negative attributes were projected onto the heavier girl in the vignette, and the discourse of acceptance was linked to feelings of pity and sympathy as fat girls were ‘handicapped’ albeit not because of their own doing. Thin girls were linked to positive traits, such as kind, happy and with leadership potential. The pre-teens in the sample were all very familiar with terms related to food restrictions (dieting), and a number of them had indulged in dieting behaviour to lose weight. The research was conducted in one province in South Africa and provides baseline data for a bigger study, which includes other provinces, as well as girls from rural areas and girls from schools in poorer urban areas. The results indicated that the pre-teen girls have internalised gendered notions of what it means to be female and being thin is integrally linked to what patriarchy has constructed as the ideal female body. Contribution: This article is grounded within the discipline of Psychology. However, the scholarly contribution it intersects with include the disciplines of Public Health, Education and Gender Studies. It provides and engages a discourse at the intersections of the Social Sciences and Humanities disciplines, contributing to knowledge which is interdisciplinary and multidisciplinary. (shrink)

ObjectiveTo examine body image perception and the associations of body dissatisfaction with socio-demographic and lifestyle factors among Saudi women attending fitness centers in Riyadh.MethodsSaudi females aged 16 years and older were recruited from 12 randomly selected fitness centers in Riyadh, using stratified clustered sampling technique. Height and weight were measured to calculate actual body mass index. A previously validated instrument was used to collect socio-demographic and lifestyle variables including physical activity, sedentary behaviors, sleep and dietary habits. (...) Stunkard Figure Rating Scale silhouettes were used to assess perceived and desired body shape.ResultsThe participants had a mean age of 29.2. The majority were not married, with no children and had college degrees. While 63% were overweight or obese, nearly 40% of women underestimated their perceived body shape. The majority of respondents were dissatisfied with their body shape including 68% of normal weight women. Females who had BD were significantly older, had higher BMI, reported more weight loss attempt and had expended less time in vigorous and total PA than those who were satisfied with their body shape. However, when adjusting for socio-demographic variables, logistic regression analysis revealed significant associations of BD with higher BMI, shorter membership duration of fitness club, and reduced dairy products and energy drinks consumption.ConclusionExcept for BMI and decreased dairy products and energy drinks consumption, many lifestyle behaviors did not associate with BD among Saudi females attending fitness centers. The findings can inform healthcare providers when intervention strategy is implicated for females with BD. Future studies should compare the associations of BD with lifestyle behaviors between males and females attending fitness centers and seeking weight loss. (shrink)

Many studies have linked idealized body image on social media to negative psychological well-being among young females. However, social media influencers’ imagery has not attracted much research attention in either the Western or the Asian context. This study aimed to experimentally investigate the impact of high versus low popular social media influencer images on young Chinese females’ body satisfaction and mood. The participants were 420 female RED users who were randomly assigned to three groups: the influencer-high (...) group ; the influencer-low group ; or a control set of nature images. The results revealed that the groups exposed to influencer imagery had lower body satisfaction and more negative mood than the control group. Notably, this comparison showed no significant difference between the low-influencer and high-influencer groups in body satisfaction and mood. Additionally, this effect was moderated by individuals’ self-discrepancy between personal ideals and their own bodies. That is, exposure to idealized body images does not always produce harmful effects. For those with lower self-discrepancy, idealized body posts somewhat positively affected their body satisfaction. The current research contributes to the media effect literature by providing critical new insights into the study of body image in the context of China. (shrink)

This essay is an attempt to plumb the conventions which exist at a specific historical moment in both the aesthetic and scientific spheres. I will assume the existence of a web of conventions within the world of the aesthetic—conventions which have elsewhere been admirably illustrated—but will depart from the norm by examining the synchronic existence of another series of conventions, those of medicine. I do not mean in any way to accord special status to medical conventions. Indeed, the world is (...) full of overlapping and intertwined systems of conventions, of which the medical and the aesthetic are but two. Medicine offers an especially interesting source of conventions since we do tend to give medical conventions special “scientific” status as opposed to the “subjective” status of the aesthetic conventions. But medical icons are no more “real” than “aesthetic” ones. Like aesthetic icons, medical icons may iconographic in that they represent these realities in a manner determined by the historical position of the observers, their relationship to their own time, and to the history of the conventions which they employ. Medicine uses its categories to structure an image of the diversity of mankind; it is as much at the mercy of the needs of any age to comprehend this infinite diversity as any other system which organizes our perception of the world. The power of medicine, at least in the nineteenth century, lies in the rise of the status of science. He conventions of medicine infiltrate other seemingly closed iconographic systems precisely because of this status. In examining the conventions of medicine employed in other areas, we must not forget this power.One excellent example of the conventions of human diversity captured in the iconography of the nineteenth century is the linkage of two seemingly unrelated female images—the icon of the Hottentot female and the icon of the prostitute. In the course of the nineteenth century, the female Hottentot comes to represent the black female in nuce, and the prostitute to represent the sexualized woman. Both of these categories represent the creation of classes which correspondingly represent very specific qualities. While the number of terms describing the various categories of the prostitute expanded substantially during the nineteenth century, all were used to label the sexualized woman. Likewise, while many groups of African blacks were known to Europeans in the nineteenth century, the Hottentot remained representative of the essence of the black, especially the black female. Both concepts fulfilled an iconographic function in the perception and the representation of the world. How these two concepts were associated provides a case study for the investigation of patterns of conventions, without any limitation on the “value” of one pattern over another. Sander L. Gilman is professor of Humane Studies in the Department of German Literature and Near Eastern Studies and professor of Psychiatry in the Cornell Medical College, Cornell University. He is the author or editor of numerous studies of European cultural history with a focus on the history of stereotypes. In addition, he has coedited Degeneration with J. E. Chamberlin. His study Jewish Self-Hatred is forthcoming. (shrink)

Mass media play an important role in changing body image. This study aimed to determine the role of media (magazines and television) in body weight concern among university females in five Arab countries. A total sample of 1134 female university students was selected at convenience from universities in five Arab countries: Bahrain, Egypt, Jordan, Oman and Syria. The females' ages ranged from 17 to 32. A pre-tested questionnaire was used to assess the exposure to mass media (...) regarding weight concerns. For the variables on exposure to mass media, girls were divided into two groups: infrequently exposed and frequently exposed. In general, the females who were exposed to mass media had a greater risk of having dieted to lose weight and changing their ideas of a perfect body shape than those who were not exposed or infrequently exposed. The association of exposure to magazines with having dieted to lose weight was only significant among females in Bahrain (p<0.044), Egypt (p<0.001) and Jordan (p<0.001). Exposure to television had a weaker association than exposure to magazines with body weight concerns of females. The association of exposure to television with females' idea of a perfect body shape was only statistically significant in females in Egypt (p<0.019) and Oman (p<0.019). The pressure from mass media on the body weight concern of female university students may lead these women to practise unhealthy weight control diets. (shrink)

Medical imaging has provided insight into the living body that were not possible beforehand. With these methods a revolution in medical diagnosis and biomedical research has begun. Problematic aspects on the other hand are arising from the highly constructive properties of image production, which use complicated physical and physiological effects. Images are established via highly complicated combinations of technology and contingently chosen mathematical and algorithmic solutions. In addition, image construction follows properties of the human visual and cognitive (...) system to allow for the discrimination of the desired categories. It is no wonder that the visualizations referring to the body also show effects which have no physiological correlation within the body. Still such images are often used as if they were one-to-one correlates of the body. This has impacts, e.g. for their use as standardizing instances, resulting in new definitions of the normed healthy body, sickness or pathologies, maleness and femaleness and in determinisms as opposed to the brain's plasticity and variability, both in time and space, inter- as well as intra-individually. (shrink)

Research investigating female gaming is relatively scarce, and past research has demonstrated that men are more likely to be problematic gamers. Few studies have focused on female gamers in community samples, and those that have been published have mainly collected data qualitatively in Europe. There is case study evidence suggesting clinicians are increasingly treating problem female gamers. The aim of this study is threefold: (i) to establish an international female gamer profile, (ii) to determine predictors associated (...) with perceived internet gaming disorder (IGD), and (iii) to identify those who are potentially at risk of developing gaming addiction and its characteristics by applying a quantitative approach. A cross-sectional online survey was applied through international gaming forums recruiting 625 female gamers, assessing sociodemographics, gaming devices used and play genres, and a set of questionnaires on gaming (e.g., problem online gaming [e.g., the nine-item short-form scale to assess IGD: IGDS9-SF], female stereotypes [e.g., sex role stereotyping scale], and psychological symptoms [e.g., Symptom CheckList-27-plus]). Female gamers from all continents reported the use of all videogames, especially popular online games using computers and consoles. The proportion of gamers with potential IGD was one per cent. Regression analyses identified several risk factors for increased scores on the IGDS9-SF, namely having achievement and social motivations, embodied presence and identification with the avatar, hostility and social phobia together with negative body image, playing Multiplayer Online Battle Arena, Massively Multiplayer Online Role-Playing Games, and First-Person-Shooter games. Findings contribute to filling the gap in knowledge on female gaming, to aid in the applicability of problematic gaming measurements in female gamers, especially those who are at risk of problematic gaming. The purpose of this study is to enhance the validity of the current measures to diagnose problem gaming appropriately in both genders. (shrink)

This article explores the relationality between women’s bodies and selfies on NSFW (Not Safe For Work) tumblr blogs. We consider the way selfie practices engage with normative, ageist and sexist assumptions of the wider culture in order to understand how specific ways of looking become possible. Women’s experiences of their bodies change through interactions, sense of community and taking and sharing selfies. This article provides an empirical elaboration on what sexy selfies are and do by analysing interviews, selfies and blog (...) content of nine women in the NSFW self-shooters community on tumblr. For our participants, self-shooting is an engaged, self-affirmative and awareness raising pursuit, where their body, through critically self-aware self-care, emerges as agentic, sexual and distinctly female. Thus, this is a reading of selfies as a practice of freedom. (shrink)

Jenny Saville is a leading contemporary painter of female nudes. This paper explores her work in light of theories of gender and embodied agency. Recent work on the phenomenology of embodiment draws a distinction between the body image and the body schema. The body image is your representation of your own body, including your visual image of it and your emotional attitudes towards it. The body schema is comprised of your proprioceptive (...) knowledge, your corporeally encoded memories, and your corporeal proficiency with respect to various environments and activities. Saville is concerned with body image issues, and I discuss how she reconfigures representational practices with respect to feminine body images. However, the most exciting potential for feminist analysis of the state of the female nude derives from the concept of the body schema, for this concept endows the human body with subjectivity and agency. My key question, then, is by what pictorial means and to what extent Saville succeeds in representing agentic womanhood. I argue that interpreting Saville’s paintings from the standpoint of the body schema demonstrates the radicality of her remaking of the female nude and the rapport between her imagery and feminist values. (shrink)

Inaccurate body size judgements are associated with body image disturbances, a clinical feature of many eating disorders. Accordingly, body related stimuli have become increasingly important in the study of estimation inaccuracies and body image disturbances. Technological advancements in the last decade have led to an increased use of computer generated (CG) body stimuli in body image research. However, recent face perception research has suggested that CG face stimuli are not recognised as (...) readily and may not fully tap facial processing mechanisms. The current study assessed the effectiveness of using CG stimuli in an established body size estimation task (the ‘bodyline’ task). Specifically, we examined whether employing CG body stimuli alters body size judgments and associated estimation biases. One hundred and six 17- to 25-year-old females completed the CG bodyline task, which involved estimating the size of full-length CG body stimuli along a visual analogue scale. Our results show that perception of body size for CG stimuli was non-linear. Participants struggled to discriminate between extreme bodies sizes and overestimated the size change between near to average bodies. Furthermore, one of our measured size estimation biases was larger for CG stimuli. Our collective findings suggest using caution when employing CG stimuli in experimental research on body perception. (shrink)

In this provocative book, Susan Bordo untangles the myths, ideologies, and pathologies of the modern female body. Bordo explores our tortured fascination with food, hunger, desire, and control, and its effects on women's lives.

Attentional biases have received considerable focus in research on cognitive biases and body dissatisfaction (BD). However, most work has focused on spatial allocation of attention. The current two experiments employed a rapid serial visual presentation (RSVP) task to investigate the temporal allocation of attention to body-related words among young females with high and low BD. Experiment 1 assessed the stimulus-driven attention of body-related stimuli. Participants identified a neutral second target (T2) as accurately as possible while ignoring the (...) preceding neutral, fat-, or thin-related first target (T1). As expected, we observed spontaneous attentional blink effects elicited by fat- and thin-related T1s among participants with high BD, suggesting enhanced awareness of body-related stimuli even when this information does not have to be identified. Such effects did not emerge among participants without BD. Experimental 2 investigated the goal-directed attention of body-related stimuli, during which participants needed to identify both the T1 and neutral T2. Participants with BD showed reduced attentional blink effects after both fat- and thin-related T1, suggesting facilitated consolidation of body-related information in goal-directed attention among participants with BD. The findings may have important clinical implications for understanding how to decrease and even prevent body image dissatisfaction. (shrink)

Certain Greek texts depict Helen in a manner that connects her elusive body with the elusive maneuvers of the persuasive story. Her too-mobile body signals in these texts the obscurity of agency in the seduction scene and serves as a device for tracking the dynamics of desire. In so doing this body propels poetic narrative and gives structure to persuasive argumentation. Although the female figure in traditional texts is always the object of male representation, in this (...) study I examine a set of images of a female body whose representation ultimately seems to frustrate the narrative strategies for which its depiction was created. What emerges in the fifth century as a rhetorical technique begins in Book 3 of the Iliad as a narrative strategy that uses Helen's cloaked and disappearing body to catalyze plot, and develops in Sappho's fr. 16 into a logic of desire shaped by the movement of Helen's and other bodies in the visual field. Gorgias, in the Encomium of Helen, transforms these depictions of Helen into an argument that is structured by Helen's body, an argument that Helen herself employs in Euripides' Troades, where her own body serves as the anatomy of her argument. These texts all associate Helen's body with a type of persuasive narrative that repeatedly invokes the field of vision, describing physical presence in terms that aim at attracting the eye. At the same time this verbal portraiture disrupts the audience's perspective by depicting bodies as cloaked, mobile, and/or half seen, and by obscuring distinctions between desirer and desired, viewer and viewed. As both subject and object in this viewing process, Helen's body comes to be associated with the double vision of seduction and the distracting power of persuasive images, which seduce the mind's eye while eluding the mind's grasp. (shrink)

Contemporary medical imaging technologies produce images on the level of human cells. As a result of such images, egg and sperm cells have become well-known artefacts of popular culture. Medical imaging technology has transformed these gametes from invisible matter integrated in biological processes within the body to identifiable objects. The visualisation of egg and sperm cells has literally lifted the process of human reproduction out of the female body and made the gametes appear as protagonists in the (...) story of human reproduction. The article argues that visualisation of the gametes and the central role they play in contemporary imaginations of reproduction may offer vital contributions to the rather rapid acceptance and normalisation of assisted reproduction. (shrink)

This article is concerned with Jeanette Winterson's use and reworking of post-modern concepts of the body in her novel Written on the Body. Feminist appropriations of those concepts can be problematic: they tend to focus on the way in which a coherent body image is constructed and then imposed on the body parts, whereas many feminist theorists continue to emphasize the wholeness and integrity of the female body. Written on the Body offers (...) constructive ways of theorizing the female body within a postmodern framework, because it is shaped by concepts of wholeness and fragmentation at the same time. Winterson develops a critique of androcentric science and medicine that strives to know the female body by dissecting it, analogous to the way modern society compartmentalizes human lives into neat manageable units. Against this, a concept of wholeness is strategically employed. Likewise, Winterson criticizes the equation of the female body with a penetrable surface. The androcentric concept of sexuality that associates penetration with the exploration of hidden depths and the achievement of power and knowledge is unmasked as necrophiliac. However, by constructing a lover/narrator whose gender remains undeclared, Winterson manages to unsettle perceptions of gendered difference. The text produces different meanings depending on whether the narrator is read as a man or a woman, and sexuality requires a basic human sameness from which a host of differences emerge that may or may not be gendered. In Written on the Body, Winterson disturbs fixed boundaries and rigidly gendered identities that objectify the body in order to build up a concept of the body that is fluid and leaves room for changes and mergings with other bodies, where bodies are held together not by a stable body image and a gendered identity, but by forces of connection and interaction between parts of the body. (shrink)

This paper explores the symbolic implications of Luce Irigaray's images of the female body, particularly the two lips and the mucous. It suggests that Irigaray's work reveals some of the problems attendant on "positive images of women.".

This essay addresses the link between sex trafficking and European citizesnhip by examining several anti-trafficking campaigns launched in post-socialist Europe. In illustrating which techniques are used in the production of images, it points to the highly symbolic and stereotypical constructions of femininity (victims) and masculinity (criminals) of eastern European nationals. A close analysis of female bodies dispayed in the campaigns indicates that the use of victimizing images goes hand in hand with the erotization of women's bodies. Wounded and dead (...) women's bodies are read as attempts to stabilize the current political and social transformations in Europe by capturing women within the highly immobile boundaries of the sign ‘Woman’. The essay suggests that the representation of violence is thus violent itself since it confirms the stereotypes about eastern European women, equates the feminine with the passive object, severs the body from its materiality and from the historical context in which trafficking occurs, and finally confines women within the highly disabling symbolic register of ‘Woman’ as to maintain an imaginary social order in Europe. (shrink)

In the perspective of cultural history, "health" is a late 18th century construct. It appears as a term that legitimates the organized concern for the well-being of others. Under the banner of health, institutionalized intervention related to the redefinition and management of women's bodies multiply during the 19th century. Recent women's studies have amply documented the sexist use to which the new health-related concepts have been put. But the semantic reconstruction of the female body as an implicit result (...) of the new scientific concepts has unfortunately attracted less attention. Because it is precisely in the mirror of gynecology that the insidious new dependence of the citizen's well-being from professional management can be best studied. The historical study of body images and related scientific themes is fundamental to the critique of the now prevalent ideology of "health.". (shrink)

Through staged photographs in which she herself is often the lead actor or through appropriation of historical photographs, contemporary African American artist Carrie Mae Weems deconstructs the shaming of the black female body in American visual culture and offers counter-hegemonic images of black female beauty. The mirror has been foundational in Western theories of subjectivity and discussions of beauty. In the artworks I analyze in this article, Weems tactically employs the mirror to engage the topos of shame (...) in order to reject it as a way of seeing the self and to offer a new way of lovingly seeing the self. I use the work of Kelly Oliver, Helen Block Lewis, and bell hooks to articulate the relationships among the mirror, shame, and black female subjectivity in Weems's work. Weems's subjects often reckon with what Oliver calls “social melancholy” as they experience shame while standing before the mirror. However, Weems also shows that by looking again—a critical strategy I explain using Oliver's model of “the loving eye”—her subjects can use the mirror as a corrective to the social shaming gaze and make it a stage for establishing black female subjectivity, a gaze of self-love, and beauty. (shrink)

We critically analyze four images of female Paralympians posing nude in ESPN The Magazine’s Body Issue from the years 2009, 2010, 2012, and 2014. Past literature shows that media portrayals of female Paralympians emphasize esthetically pleasing bodies, able-bodied images and asexualization. Weaving’s continuum of sexual objectification was applied to assess the varying degrees of sexual objectification showcased within each image. From a feminist perspective, discourses of heteronormativity and ableism were applied to outline the concerns with (...) class='Hi'>female Paralympic representation in The Body Issue. We argue that by normalizing disability and sexual objectification, woman athletes are trivialized. (shrink)

Introduction. The problem of the “female issue in art” is one of the most pressing today. “Gender art” or “female art” is one of the trends in modern art exhibitions. Thanks to art feminism, today women artists can fully demonstrate their talent, which arouses great interest in their work from the world art community. The purpose of the article is to identify specific stylistic features characteristic of “female subjectivity” and feminist practices in the art of the second (...) half of the twentieth century. Methods: we used general scientific methods of analysis and synthesis, the phenomenological method, since we identify the existential intentions that underlie modern art. We also use the hermeneutic method as we uncover hidden meanings in the works of women artists. The scientific novelty lies in the fact that we identify and describe specific stylistic features characteristic of the work of women artists of the second half of the twentieth century, which has not been done before. Results. We conducted a philosophical and cultural analysis of the works of women artists: Berthe Morisot, Hannah Höch, Frida Kahlo, Alice Neel, Louise Bourgeois, Sarah Lucas, and identified common features characteristic of their work. We also conducted a philosophical and cultural analysis of art feminism as a phenomenon. Conclusions. Among the stylistic features that unite the work of women artists of the second half of the twentieth century, we have identified the following: appeal to purely female handicraft techniques (“fiber art”); the subject of art is the inner world of the artist’s own feelings and experiences; art is often considered as a kind of art therapy, a way to survive the traumas suffered; a female artist has more empathy for the model and her mental state than male artists; women artists are characterized by a rethinking of the attitude towards the body, an image of the body as unaestheticized, non-normative, unadorned, irony towards the body; for women artists, art often becomes a way to fight for their rights, gender and racial equality. (shrink)

De 1968 à 2012, le corps des ouvrières de la lingerie en France constitue un lieu d’observation heuristique en articulant plusieurs niveaux d’analyse et de temporalités. Comme productrices et comme consommatrices potentielles, les ouvrières se situent au croisement d’un double mouvement : d’un côté leurs corps à l’ouvrage déconstruisent la nature intime du produit et, de l’autre, elles se trouvent quotidiennement confrontées aux images véhiculées par la marque qu’elles finissent par incorporer. En effet, le corps des ouvrières est valorisé par (...) l’entreprise à travers sa presse interne, ou par sa politique qui les met souvent à contribution dans la conception des produits ou dans leur appréciation comme consommatrices. Le caractère intime du produit fabriqué peut permettre d’expliquer l’attention que les ouvrières portent à leur propre corps, certaines ayant parfois recours à la chirurgie esthétique. Dans la mobilisation contre les fermetures d’usines, elles se livrent à une défétichisation du soutien-gorge, en rendant visible publiquement le produit de leur travail. (shrink)

Since the introduction of ultrasound technology in the 1960s as a tool to visibly articulate the interiors of the pregnant body, feminist scholars across disciplines have provided extensive critique regarding the visual culture of fetal imagery. Central to this discourse is the position that fetal images occupy- as products of a visualizing technology that at once penetrates and severs pregnant and fetal bodies. This visual excision, feminist scholars describe, has led not only to an erasure of the female (...) body from fetal images but also to an erasure of the pregnant body in social, political, and biomedical discourses. Vital to feminist scholarship is, thereby, an engagement with fetal images in ways that reinscribe the pregnant body onto fetal images and into political discourses pertaining to reproductive rights. In this paper, similar to the feminist aim, I am interested in engaging with fetal images as way to gain agency for pregnant women and their bodies. The critical question that I ask is: Can we conceive of medical technology in an embodied way -one that interacts organically, dynamically, and through multisensory dimensions with pregnant bodies? In attempting to answer this question, I turn to Bruno Latour and Gilles Deleuze’s articulations of how bodies and machines interact to produce visual fact. (shrink)

This article reintroduces a phenomenological experiment designed in the early 1960’s, The Alien-Hand Experiment (TAHE), and it illustrates how phenomena denoted by theoretical concepts like body image, body schema and agency can be studied via the experiment. An analysis of the verbal reports from 26 subjects who participated in TAHE is presented in this article. Subjects were divided into three groups: A group of non-bulimic men, a group of non-bulimic women and a group of female bulimics. (...) The group of (female) bulimics was studied due to the widely spread notion that subjects suffering from eating disorders have a distorted body image. TAHE can be thought of as both a qualitative and quantitative way to study the phenomena arising when the normal relationship between motor behaviour and body experience is disrupted. The present investigation is not an operational definition of body schema and body image, but the two concepts offer a useful interpretive framework. (shrink)

Previous studies have reported that general or photo-specific social media use was associated with women’s body dissatisfaction and body image disturbance. The current study replicated and expanded upon these findings by identifying the positive association between social media influencer viewing and intentions to change appearance. This study surveyed a sample of 7,015 adult female TikTok users in China regarding their social media influencer viewing frequency, self-objectification, social comparison tendencies when watching short videos, intentions to change appearance, (...) and demographics. The results showed that female TikTok users’ self-objectification mediated the association between their influencer viewing frequency and their intentions to change appearance. Furthermore, social comparison tendencies moderated the association between influencer viewing and intentions to change appearance in that the proposed association was stronger for female TikTok users who had lower social comparison tendencies when watching short videos, compared to female TikTok users who had higher social comparison tendencies. The counter-intuitive finding on social comparison tendencies indicated that women who have higher social comparison tendencies may be more aware of the negative influences and adjust their expectations. The observed association between social media influencer viewing and intentions to change appearance was statistically significant but trivial in terms of effect size. Although the result could warn policymakers and practitioners to design media and health literacy campaigns to cultivate body positivity, caution should be exercised when evaluating the practical implications. (shrink)

The works of Malaysian poet, Wong Phui Nam’s Against the Wilderness (vii) China bride and Variations on a Birthday Theme (iv) Kali , illustrate a bride and a mother in terrifying images. Wong’s stylistic form of representing the female body through startling images of inversion and degradation evoke feelings of unease. The suspension between the known and the unknown causes a bewildering reality verging on madness. Interpreted through the lens of the carnivalesque, specifically, the grotesque body, festive (...) language and parody, I attempt to reconstruct the psyche of the Chinese migrant which underpins these poems. The migrant who arrived in Malaya during the colonial era in the early nineteenth century faced political and social struggles in adapting to a new land. In the poems, the migrant juxtaposes his position to a female and uses the female body as a site of contention to intensify the torment of the psyche and to reflect the despair of the Chinese in Malaysia. (shrink)

Putting classical art to the side for the moment, the naked and near-naked female body became an object of mainstream consumption first in Playboy and its imitators, then in movies, and only then in fashion photographs. With the male body, the trajectory has been different. Fashion has taken the lead, the movies have followed. Hollywood may have been a chest-fest in the fifties, but it was male clothing designers [e.g., Calvin Klein] who went south and violated the (...) really powerful taboos--not just against the explicit depiction of penises and male bottoms but against the admission of all sorts of forbidden "feminine" qualities into mainstream conceptions of manliness. . . . Images of masculinity that will do double (or triple or quadruple) duty with a variety of consumers, straight and gay, male and female, are not difficult to create in a culture like ours, in which the muscular, male body has a long and glorious aesthetic history. (shrink)

Dissatisfaction with facial appearance is one of the strongest contributors to body image disturbance among young Chinese females and leads to a series of psychological and behavioral disorders. By conducting behavioral and ERP experiments, this study illustrates how young females in China with facial dissatisfaction process different levels of facial attractiveness. Experiments 1 and 2 are behavioral experiments in which the dot-probe paradigm was used to explore the participant’s attentional bias to facial attractiveness. The results showed that regardless (...) of whether the face image was presented above or below the threshold, young females with facial dissatisfaction exhibited attentional orientation toward lowly attractive faces and attentional avoidance to both lowly and highly attractive faces, while the control group showed difficulty in attentional disengagement from highly attractive faces. In experiment 3, the learning-recognition task was used to examine mnemonic bias toward facial attractiveness among females with facial dissatisfaction, and EEG data were also recorded during the encoding and retrieval phases. The study found that young females with facial dissatisfaction exhibited a mnemonic preference for lowly attractive images at both the encoding and retrieving stages, with higher P1, N170, P2, and N300 induced by lowly attractive faces, while the control group preferred highly attractive faces. In conclusion, young females with facial dissatisfaction tend to exhibit attentional orientation and mnemonic bias toward lowly attractive faces. (shrink)

This essay explores the American Girl Just Like You doll through a variety of feminist lenses. It was inspired by my experiences chaperoning my friend Grace to the American Girl Store in New York City, and returning to the store to shop for my own doll. I returned to the store because I was not sure why I was so extremely disturbed by this doll. The doll is not emaciated, not overtly sexy, and marketed along with outfits that supposedly send (...) girls the message that they can achieve their goals. She comes in a variety of skin, eye, and hair colors, and the line is therefore marketed as racially and ethnically sensitive. I argue that although the Just Like You line appears to be empowering and racially sensitive on a superficial level, an in-depth feminist analysis indicates that it is not. In fact, the Just Like You line is highly problematic from a feminist perspective. (shrink)

Enlightenment optimism over mankind's progress was often voiced in terms of botanical growth by key figures such as John Millar; the mind's cultivation marked the beginning of this process. For agriculturists such as Arthur Young cultivation meant an advancement towards virtue and civilization; the cultivation of the mind can similarly be seen as an enlightenment concept which extols the human potential for improvable reason. In the course of this essay I aim to explore the relationship between ‘culture’ and ‘cultivation’ through (...) botanical metaphor. By using the recurring motif of the mind's cultivation as a site from which to explore enlightenment views on female understanding, I investigate how far concerns with human progress extended to the female mind. I examine the language of botany and cultivation in texts by authors such as Mary Wollstonecraft and Anna Laetitia Barbauld alongside that of Rousseau and Millar. Wollstonecraft's appropriation and subsequent inversion of the conventional cultivation metaphor, for example, demonstrates her desire to draw attention to society's neglect of women's educational potential by substituting images of enlightened growth with those of luxuriant decay. By pushing this analogy further she indicates how society has cultivated women rearing them like exotic flowering plants or ‘luxuriants’ where ‘strength of body and mind are sacrificed to libertine notions of beauty’. I discuss the antipastoral rationalism which enables her to unmask the false sentiment behind this traditional metaphoric association between women and flowers arguing that such familiar tropes are the language of male desire and are indicative of women's problematic relationship to culture. (shrink)

However, Stein's self-images are more than appropriations of a male identity and masculine interests. Several of them are irrelevant to categories of sex and gender. In part, Stein is an obsessive psychologist, a Euclid of behavior, searching for "bottom natures," the substratum of individuality. She also tries to diagram psychic genotypes, patterns into which all individuals might fit. Although she plays with femaleness/maleness as categories, she also investigates an opposition of impetuousness and passivity, fire and phlegm; a variety of regional (...) and national types; and the dualism of the "dependent independent," who tends to resist. In part, as she puzzles her way towards knowing and understanding, she presents herself as engaged in aural and oral acts, listening and hearing before speaking and telling. That sense of perception as physical also emerges in a passage in which she, as perceiver/describer, first incorporates and then linguistically discharges the world: "Mostly always when I am filled up with it I tell it, sometimes I have to tell it, sometimes I like to tell it, sometimes I keep on with telling it."1 · 1. The Making of Americans: Being a History of a Family's Progress , p. 325. Catharine R. Stimpson, associate professor of English at Barnard College, is the editor of Signs: Journal of Women in Culture and Society and the author of J.R.R. Tolkien as well as other essays and fiction. See also: "Visual Rhetoric in The Autobiography of Alice B. Toklas" by Paul K. Alkon in Vol. 1, No. 4; "Gertrude Stein, the Cone Sisters, and the Puzzle of Female Friendship" by Carolyn Burke in Vol. 8, No. 3. (shrink)

This article involves a critical examination of the recent paradigm shift in the appraisal of women's dress. Whereas in the past, female fashion was criticized primarily in terms of its impractical and restrictive nature and more `functional' and `natural' modes of dress were advocated, in recent times the legitimacy of the notion of `functional' or `natural' dress has been challenged. As theorists such as Wilson, Sawchuck and Hollander have pointed out, to assume that there is a `natural' mode of (...) dress which reflects the body `as it really is' wrongly presupposes that the body pre-exists culture when in fact it is always inescapably encoded by cultural norms. However, as is argued in the article, while recent theorists have revealed the naivete of the functionalist paradigm upon which previous critiques of fashion have been premised, their alternative conception of liberatory dress as that which highlights the constructed nature of the body is equally as problematic insofar as it leaves unchallenged the reduction of self-identity to image which the advertising and fashion industries now endorse and promote. In championing the idea of dress as a parodic play in which the body of the wearer is denaturalized, postmodern theories of fashion display an unwitting complicity with our contemporary culture of the spectacle which privileges the cult of appearance over all other sources of identity formation. (shrink)

Feminist social theory and female body experience are the twin themes of Iris Marion Young's twelve outstanding essays written over the past decade and brought together here. Her contributions to social theory raise critical questions about women and citizenship, the relations of capitalism and women's oppression, and the differences between a feminist theory that emphasizes women's difference and one that assumes a gender-neutral humanity. Loosely following a phenomenological method of description, Young's essays on female embodiment discuss (...) class='Hi'>female movement, pregnancy, clothing, and the breasted body. In an introduction that situates her work in the context of shifts in feminist theory and politics over the past decade, Young emphasizes the rootedness of her theorizing in a dedicated and seasoned political activism. (shrink)

An advertiser develops visual associations of signs and symbols to create a product image that motivates consumers. Today is characterized by a solid consumer culture based on visual identity consumption that articulates and interacts with each consumer's daily actions, words, and visual perceptions. The frequent use of female role portrayals and physical attractiveness in advertising contributes to an increase in society's awareness of women. Some scholars have developed an ethical discussion out of the phenomenon of female role (...) portrayals not matching the public expectations because the portrayals are too narrowly defined and women are unfavorably depicted. But another group has studied the product-type match-up hypothesis, which emphasizes effectively employing attractive female endorsers that closely match the product type. The shift in female social status in Taiwan contributes to the importation of foreign ideas such as feminine values, rituals, and esthetics. Women in Taiwan have been introduced to a new feminism, a modified perception of appropriate personal appearance and behavior. This current research utilizes content analysis and in-depth interviews to explore contemporary female role portrayals in advertising. In addition, this article examines the relationship between the formation of contemporary physical attractiveness and visual consumption in advertising. The results reveal that most endorsers were celebrities, with fit bodies and pleasant expressions, portrayed as product users who offer personal experiences to deliver product knowledge. Conservation classical beauty was the most common depiction, while sexual expression was the least common. Finally, this article recommends that different types of beauty, posture, and appeal should be carefully selected to match domestic and foreign magazines' readers. (shrink)

While the turn to vulnerability in law responds to a recurrent critique by feminist scholars on the disembodiment of legal personhood, this article suggests that the mobilization of vulnerability in the criminal courts does not necessarily offer female drug mules a direct path to justice. Through an analysis of sentencing appeals of female drug mules in England and Wales, this article presents a feminist critique of the dispositif of the person and its relation to vulnerability. Discourses on drug (...) mules’ vulnerability mobilize the trope of the colonial victim in need of protection, which is often translated into legal mercy. But mercy is rather an expression of biopower which inscribes not only fragility onto the bodies of drug mules by figuring them as exemplar paradigms of colonial subjectivity, but also reinvigorates the dispositif of gender implicit in the legal person. In this set-up, it would appear as if law and politics totalize the registers of life, in this case the contours of vulnerable body. The article suggests we must revisit the image of the wounded body in order to carve out a space for resistance. Drawing on Elaine Scarry and Judith Butler, it suggests vulnerable bodies are marked by a semiotic openness, which renders them subject to appropriation but also able to signify the precarity produced by the law through their resistance to representation. (shrink)

The association of colour, sensation and the body, which is noted by Jacqueline Lichtenstein and Merleau-Ponty through their insights on colour as the disturbing of structure and form, offers a way in which to foreground a series of questions about embodiment and the discourse of vision. An analysis of the chromatics of Red Road, which features a female protagonist who works as a surveillance officer in a CCTV control room, offers a way to echo and disrupt the ‘mechanisms (...) and techniques of reality-control’ and to challenge what constitutes socially acceptable bodies and the cinematic institution of the image of woman. In Red Road the legible architecture of the film image emerges through the myriad colours of light reflected by a camera lens and the effacement of details in areas affected by shadow and variations in focus. The camera is almost always in motion and responsive to the gestures of the protagonist's body, signalling the potential of the chromatics of Red Road to trouble the structures of seeing familiar to cinematic representation. Colour and perception remain open to contingency and change, fostering alternative subject positions that trace the interrelations of the body — its senses and sensations — and the discourse of vision. The unsettling of perception refigures the encounter between the self and others through the imaginary or fictional worlds that remind us of the uncertainties and vulnerability of such interactions. (shrink)

The aim of this paper is to describe and assess the energetic-metabolic activity of selected muscles of upper and lower extremities during Rotational Training (RT). The influence of RT on temperature changes in the biceps and triceps brachii muscles as well as the quadriceps and biceps femoris muscles of healthy university students were verified, in addition to temperature differences between the left and right side before and after RT. The study was conducted on 18 subjects. RT was conducted in accordance (...) with accepted forms of training methodology of collective fitness. An important part of RT was the performance of circular and rotational movements. Thermograms taken before and immediately after RT focused on 4 regions of selected agonists and synergists in the upper and lower body. The camera used was the infrared hand-held CEDIP Titanium 560M IR (USA), located at a distance of 10 m from the subject. After RT, median Tsk (skin temperature) decreased in almost all of the examined ROIs, except for the left and right Qf (the quadriceps femoris, rectus femoris, and sartorius muscles) as well as the left Tb (triceps brachii) in female subjects. In male subjects, left and right Tsk of Qf increased both for the left and right Tb. Left-Right ΔTsk (temperature difference) was statistically significant (p <0.05) for Of, Bf, Bb, Tb in female as well as male subjects. It was concluded that thermography is a non-invasive, safe, and low-cost method for the recording of physiological response of the skin to RT. (shrink)

It was only recently that people began to refer to God, occasionally, as “she.” Is it now possible to re-imagine divine power as a female force deeply related to the changing world? If so, then we can understand the deeper meaning of female images of divine power including depictions such as “The Goddess.” Carol Christ offers a new look at these female images of God in She Who Changes . She shows how many traditional ideas about divine (...) power reject the female body and connection to the natural world. She looks at the work of female theologians in Judaism, Christianity, and various religions that worship "The Goddess" to explore the way in which they are re-imagining both divine and human power as embodied both in a changing world and deeply related to all beings. (shrink)

This book focuses on social phenomenon that impact the lives of adolescent females of color. The authors highlight the daily challenges that African-American, Chicana, and Puerto Rican teenage girls face with respect to peer and family influences, media stereotyping, body image, community violence, pregnancy, and education. The authors also emphasize the incredible resiliency that young women possess in countering many of the social barriers confronting them.