By examining the 5,413 illustrations provided in 33 introductory sociology textbooks published between 1982 and 1988, we explored the way textbook publishers in sociology pictorially construct images of gender and race. Individuals in a picture are coded for race and gender identity; each picture is coded for location in or outside the United States and for placement in 1 of 26 substantive topics. Although people of color were shown in numerically “fair” proportions, including Blacks seemed to be a way of (...) “staging” equality in the United States, while including other minorities appeared to offer “cross-cultural” comparisons to American society. Women accounted for only 36 percent of the individuals portrayed in these books, regardless of racial and ethnic category. Race and gender seemed to be conceptualized as nonoverlapping categories; White women “have” gender, while women of color apparently “have” only race. White men and boys occupied the center stage in these images of society; not only were more White men and boys presented than any other gender or race category, but they also received more exclusive attention and visually dominated the crucial institutions of politics and the economy. Although authors and publishers may strive to be fair, the way that race and gender representation is constructed in introductory sociology textbooks tends to reflect rather than critique popular American stereotypes. (shrink)

Ageist attitudes have been discovered in children as early as 3 years. However, so far very few studies, especially during the last decade, have examined age-related stereotypes in preschool children. Available questionnaires adapted to this population are scarce. Our study was designed to probe old age-related views in 3- to 6-year-old children ( n = 126) using both an open-ended Image-of-Aging question and a new pilot tool, called Young Children’s Views of Older People (YCVOP), based on a visual (...) analog scale illustrated by cartoons. Parental views of older people were also collected. The YCVOP was easy to use and internally consistent. Both that scale and the Image-of-Aging question showed globally favorable views of older people in preschool children, especially regarding warmth and smartness traits. However, assessment of physical capacity and independence tended to be negative. The overall results were in line with the low-competence, high-warmth stereotype of older people that is common in young adults and school-age children and was found in parents in the current study (Stereotype Content Model). Strikingly, children’s views did not correlate with those of their parents’: The children’s responses appeared more personal and emotional, while the parents tended to adopt global stereotypes. The preschoolers’ views of older people were much more positive in those who spontaneously evoked their grandparents when asked to think of an old person. In conclusion, this study, introducing a new visual tool to assess age-related stereotypes, suggests ambivalent views of older adults start in preschool children and are influenced by grandparents relationships. (shrink)

This paper examines how the slogan of the “Chinese Dream” is represented in two western news reports on the CNN and the BBC websites. They are among the first news reports which introduce the “Chinese Dream” into the US and the UK, respectively. The analysis of both the verbal news texts and the visuals shows that the reporters use different discursive strategies to manipulate the ideological orientation of the social actors and social actions in discourse. Through the analysis, this study (...) shows how different discursive resources conceptualized in Theo van Leeuwen’s work, Discourse and practice: New tools for critical discourse analysis, are used to stereotype “the other’s” politics and political discourse in BBC and CNN’s news texts, and perpetuate a Eurocentric view on perceiving contemporary Chinese political discourse. (shrink)

Purpose. Based on the anthropocentric approach to the analysis of visual self-presentations of Artemisia Gentileschi in paintings, to present the artwork as self-objectifications of the artist, which give rise to a new cultural reality and are at the same time a means of knowing the essence of man. Theoretical basis. The principles and methods of philosophical and anthropological research in combination with biographical, historical and comparative, iconographic, figurative and stylistic methods were used when writing the article. Among philosophical and (...) anthropological methods the principle of anthropological reduction was used, based on which the works by Artemisia Gentileschi were analyzed as her self-objectification, principle of extrapolation of a separate fact of the painter’s life and anthropological interpretation of art evolution, when an attempt is made to know their creator through a series of chronological consistent works as figurative objectification. The biographical method was used when working with data on the painter’s life, iconographic and figurative stylistic – when analyzing the art visuals: self-portraits, allegories and narrative paintings. The analytical work was carried out in stages as transition from an iconographic interpretation of paintings with gradual elimination of art and style characteristics as extra-anthropological cultural constants with subsequent anthropological reduction of cultural image. Originality consists in the author’s method of analyzing the works of visual art in terms of anthropocentric approach, as well as in considering the artwork by Artemisia Gentileschi as her self-objectification as such that give rise to a new cultural reality. Conclusions. The artworks by Artemisia Gentileschi in diachronic deployment can be seen as the painter’s self-objectification, which traces the evolution of self-expression from a person with traditional self-perception by social gender stereotypes to the phenomenon of personal life, which will determine further evolution of her self-identification and extirpation of sense of shame through virtual revenge, repentance, guilt, and formation of component of the painter’s identity as exemption from social gender prejudices and stereotypes on roles and standards of behavior socially assigned to women. (shrink)

For almost half a century dual-stream advocates have vigorously defended the view that there are two functionally specialized cortical streams of visual processing originating in the primary visual cortex: a ventral, perception-related ‘conscious’ stream and a dorsal, action-related ‘unconscious’ stream. They furthermore maintain that the perceptual and memory systems in the ventral stream are relatively shielded from the action system in the dorsal stream. In recent years, this view has come under scrutiny. Evidence points to two overlapping action (...) pathways: a dorso-dorsal pathway that calculates features of the object to be acted on, and a ventro-dorsal pathway that transmits stored information about skilled object use from the ventral stream to the dorso-dorsal pathway. This evidence suggests that stored information may exert significantly more influence on visually guided action than hitherto assumed. I argue that this, in turn, supports the notion of skilled automatic action that is nonetheless agential. My focus here will be on actions influenced by implicit biases (stereotypes/prejudices). Action that is biased in this way, I argue, is in an important sense intentional and agential. (shrink)

Are people with flawed faces regarded as having flawed moral characters? An “anomalous-is-bad” stereotype is hypothesized to facilitate negative biases against people with facial anomalies (e.g., scars), but whether and how these biases affect behavior and brain functioning remain open questions. We examined responses to anomalous faces in the brain (using a visual oddball paradigm), behavior (in economic games), and attitudes. At the level of the brain, the amygdala demonstrated a specific neural response to anomalous faces—sensitive to disgust and (...) a lack of beauty but independent of responses to salience or arousal. At the level of behavior, people with anomalous faces were subjected to less prosociality from participants highest in socioeconomic status. At the level of attitudes, we replicated previously reported negative character evaluations made about individuals with facial anomalies, and further identified explicit biases directed against them as a group. Across these levels of organization, the specific amygdala response to facial anomalies correlated with stronger just-world beliefs (i.e., people get what they deserve), less dispositional empathic concern, and less prosociality toward people with facial anomalies. Characterizing the “anomalous-is-bad” stereotype at multiple levels of organization can reveal underappreciated psychological burdens shouldered by people who look different. (shrink)

The present study addresses language ostracism in intercultural communication, a phenomenon when someone speaks a language but some members of this language community don’t speak to him in this language. This phenomenon is illustrated by language behaviour towards visually distinct bilingual minorities in Taiwan. Visually distinct minorities in Taiwan reported that they had been spoken to in English by small children or people who did not believe and accept that they really understood Mandarin when they spoke it. They might be (...) spoken to in English despite actually speaking good Mandarin. Taiwanese people behave this way because of two conditions existing in Taiwan: an English-speaking foreigner stereotype where people assume that every foreign-looking person speaks English, and English privilege in Taiwanese society which leads to people being treated better if they can speak English. (shrink)

Teaching bioethics with visual education tools, such as movies and comics, is a unique way of explaining the history and progress of human research and the art and science of medicine to high school students. For more than a decade, bioethical concepts have appeared in movies, and these films are useful for teaching medical and research ethics in high schools. Using visual tools to teach bioethics can have both interpretational and transformational effects on learners that will enhance their (...) overall understanding of complex moral and legal issues in medicine and research.High school students are uniquely suited to learn bioethics because they will soon become legal adults. As adults, they will make moral decisions that may affect their health and wellbeing as well as that of their communities and societies.However, not all visual education tools are appropriate for bioethics pedagogy in high school. Bioethics film and comic producers must consider the specifics of student age, race, gender, belief, level of education, and sexual orientation. Such tools must not be dominated by either dystopic or utopic genres, must aim for objectivity, and must consider the complexity of ethical decision making. It is critical that the teacher, who is the final arbiter regarding the use of visual tools in the classroom, determines that the visual learning tool is acceptable for students in any particular education context. In addition, during the conceptualization and creation of these tools, bioethics film and comic producers must work harder to ensure that these visual tools are devoid of any form of stereotyping. (shrink)

A substantial portion of produce harvested around the world is wasted because it does not meet consumers’ shape expectations. Only recently has research begun investigating the causes underlying misshapen produce rejection by consumers. Generally, this limited research has concluded that misshapen produce is subject to an ugly penalty, leading consumers to form biased expectations regarding product attributes (e.g., healthiness, tastiness, or naturalness). In this research, we propose that this ugly penalty extends to the moral valuation of misshapen produce and that (...) this moral penalty is rooted in the feelings of disgust evoked by the visual appearance of such produce. Across five studies and two pilot studies, we show that misshapen fruits and vegetables are disgust elicitors, and that felt disgust causes consumers to make negative moral associations with produce which, in turn, leads to decreased preference. We also show that pairing misshapen produce with a positive unconditioned stimulus (i.e., an image of attractive individuals) is an efficient solution to counteract the effect of this stereotype. This research contributes to the growing body of work demonstrating the link between consumption behaviors, consumer preferences, and morality. (shrink)

Purpose of the article is to highlight the peculiarities of the androgyny presentation in current visual culture, in particular in fashion and its philosophical and culturological comprehension. Determination of the leading trends associated with the offset of gender stereotypes and denial of the established separation into the feminine and masculine beginnings is due to the attention to the latest theories, such as transfeminism. Theoretical basis is the works of contemporary authors who develop such concepts as "gender", "gender identity", (...) "androgyne" and move within the limits of the theories of transfeminism and transgenderism. The leading French thinker J. Baudrillard outlines philosophical measurements related to the justification of fashion. The interaction issues of the feminist theory, aesthetics of gender and androgyny, which are manifested in visual images, are presented in the writings of P. Auslander, R. Crepax. Transformation of the androgyny idea is considered in the works of B. Řiháková, F. J. Galarte. S. Stryker, T. Bettcher and J. Halberstam also address the problem of transgenderism and transfeminism in their writings. Originality is to highlight the main aspects associated with actualization of androgyny, its visual presentations in fashion, and the connections with contemporary theoretical discourse. A number of concepts related to the transformation of gender stereotypes have been identified. It was revealed that the logical continuation of changes in society, science and technical development is the actualization of androgyny as an individual’s freedom in self-presentation and self-identification. It was emphasized that during the last century androgyny also serves as the basis for forming new trends in theoretical discourse, in particular, transfeminism, as well as it finds many visual manifestations in fashion and fashion industry. Conclusions contain the results of the study that describes the role of androgyny in the context of today’s culture as a measurement of personal freedom, aimed at avoiding gender stereotypes and the usual dichotomy of masculinity and femininity, which manifests itself in contemporary visual practices. (shrink)

This research delves into the potential of implementing artificial intelligence in architecture. It specifically provides a critical assessment of AI-enabled workflows, encompassing creative ideation, representation, materiality, and critical thinking, facilitated by prompt-based generative processes. In this context, the paper provides an examination of the concept of hybrid human–machine intelligence. In an era characterized by pervasive data bias and engineered injustices, the concept of hybrid intelligence emerges as a critical tool, enabling the transcendence of preconceived stereotypes, clichés, and linguistic prejudices. (...) This paper not only explores the applied and generative capacities of AI-enabled workflows but also suggests fundamental approaches that can enhance the creative process and confront the embedded biases and injustices within data-driven systems. (shrink)

Here moral problems created by the use of constructive imaging technologies within the life sciences are discussed. It specifically deals with the creation of dichotomies, such as gender, race and other differences, created and manifested through the contingent use of scientific and computational models and methods, channelling the production process of scientific results and images. Gender in technology studies has been concerned with destabilizing essentialist and dichotomous co-constructions of gender and technology. In the technological construction process gendered social constructions of (...) stereotypes and inequalities both of the technological models and of the presumptions in life sciences become structural properties of the artefacts, again flowing back into the seemingly objective results and knowledge of the life sciences. Here we will deal with the construction of gender differences via biomedical imaging and the creation of norms in atlases. Additionally, the de-contextualized images, showing idiosyncratic selections and reducing complexity are used to popularize gendered assumptions about biological facts. (shrink)

The COVID-19 pandemic has transformed the ideological, social, economic, and political aspects of life on planet Earth. This study examines the visuals associated with COVID-19 published in Pakistani English newspapers. Visual data were collected through purposive sampling, analyzed using social semiotic theory, and discussed through a post-colonial lens. The visual data were grouped as Global South and North owing to socioeconomic and political categorization among countries. The results show that the Pakistani media portrayed the Global South as rebellious, (...) miserable, and noisy against the government. However, the Global North is depicted as civilized, stress-free, and abiding by all the instructions of the authority. Analysis shows that the two realms are visually represented as remarkably divergent from each other, and media portrayal has attached stereotypes identities to the nations. Pakistani media follows a basic restricted code of conduct, which should be extended to avoid labelling and politicizing groups and nations. (shrink)

The free association method is often employed in marketing research to investigate perceptions of a particular product or brand in different socio-cultural groups of customers. In our research, international and domestic students produced free associations in response to photographs of outdoor billboards from two different locations in one city (city centre and outskirts). The results indicate that free associations can depict qualitative aspects of outdoor billboards like poor quality (relating to the categories of amateurish and fake), problematic content (relating to (...) female stereotypes, gender stereotypes and cultural differences), and that they have the potential to capture the general atmosphere of the neighbourhood (categories of decay, depression, danger and past). (shrink)

This article examines and presents examples of contemporary advertising within the medical and health professions that continue the process and organisation of knowledge about women and their reproductive bodies. It draws on feminist and poststructural perspectives to inform a critical evaluation of the visual representations of menopausal women and hormone replacement therapy. These representations work to construct certain definitions of the feminine that sustain and support existing contradictory cultural meanings and values about menopause. I argue that the images continue (...) to misrepresent and define what forms of femininity and sexual gender are desirable and acceptable for menopausal women. The article addresses the problems of gender discrimination and bias within the advertising industry, and illustrates the ways in which readers of visual texts may be influenced by stereotypic assumptions concerning a woman's lived experience of menopause. It illustrates how specific symbolic images directed towards men and women for hormone replacement therapy, testosterone deficiency and sexual dysfunction influence the viewer's decision making and action responses. (shrink)

Gross goes against the stereotype of New York photographer Diane Arbus as 'Sylvia Plath with a camera' in this examination of Arbus's work within the cultural, literary, and artistic milieu of the 1960s. The author discusses Arbus's portraits, street scenes, images of madness and disability, and her magazine work, including a spread of portraits of children in the magazine Harper's Bazaar, entitled "Auguries of Innocence." Other photographers, artists, and authors under discussion include Robert Frank, Truman Capote, Richard Avedon, Andy Warhol, (...) Roland Barthes, and William Burroughs. The book is for art and photography historians, social and cultural theorists, and lovers of 1960s visual culture. Unfortunately, it contains no photos. (shrink)

It is argued that colour name strategy, object name strategy, and chunking strategy in memory are all aspects of the same general phenomena, called stereotyping, and this in turn is an example of a know-how representation. Such representations are argued to have their origin in a principle called the minimum duplication of resources. For most the subsequent discussions existence of colour name strategy suffices. It is pointed out that the BerlinA- KayA universal partial ordering of colours and the frequency of (...) traffic accidents classified by colour are surprisingly similar; a detailed analysis is not carried out as the specific colours recorded are not identical. Some consequences of the existence of a name strategy for the philosophy of language and mathematics are discussed: specifically it is argued that in accounts of truth and meaning it is necessary throughout to use real numbers as opposed to bi-valent quantities; and also that the concomitant label associated with sentences should not be of unconditional truth, but rather several real-valued quantities associated with visual communication. The implication of real-valued truth quantities is that the Continuum Hypothesis of pure mathematics is side-stepped, because real valued quantities occur ab initio. The existence of name strategy shows that thought/sememes and talk/phonemes can be separate, and this vindicates the assumption of thought occurring before talk used in psycho-linguistic speech production models. (shrink)

This study investigates the strategies employed in the representation of masculinity in a sample of 50 advertising campaigns launched between 1999 and 2020. The chosen posters advertise products targeted at men that fit into five categories: beverages, food, daily care products, male fragrances, and clothing. Among the brands advertised are American Apparel, Clinique, Coca-Cola, Dove, Givenchy, McDonald's, and Nike. The analysis of discursive strategies is complemented by an analysis of the Corpus of Contemporary American English that investigates the most salient (...) collocates of real man/men in US English; this search was conducted due to the frequent mention of the term real men in the slogans under investigation. The corpus analysis supports the key findings of the study by showing that language and advertising operate in a circular structure and mutually impact one another. The five major strategies identified as recurrent in the representation of masculinity include gentleman's look, gender equality and fatherhood, sex appeal, sex and dominance, and strength. The findings reveal the prevalence of stereotypical representations of masculinity that foreground sex appeal, strength, and dominance over women, and to a lesser extent, the image of the classic gentleman. The Dove Men Care Collection promotes the idea of fatherhood and gender equality, which might be considered a slight departure from the usual representations of masculinity in advertising, though it is still embedded within the dominant framework of hegemonic masculinity. (shrink)

Health communication is increasingly being held to higher moral standards. No longer do noble goals outweigh ethical concerns. This content analysis examines ethical frames and primes in health public service announcements so we may begin to address the most prevalent of the problematic ones and find more ethical alternatives. In this study, 80% of the PSAs conveyed messages that individuals were to blame. Negative emotion, such as fear, was the second most frequent frame. Stereotypes of women were the primes (...) most prevalent in the visuals, and visual and verbal messages were vastly different for some of these primes. The ethical implications of each are addressed. (shrink)

Real Language Series General Editors:Jennifer Coates, Jenny Cheshire, Euan Reid This is a sociolinguistics series about the relationships between language, society and social change. Books in the series draw on natural language data from a wide range of social contexts. The series takes a critical approach to the subject, challenging current orthodoxies, and dealing with familiar topics in new ways. Gender and Discourse offers a critical new approach to the study of language and gender studies. Women moving into the public (...) domains of power traditionally monopolised by men are creating new identities for themselves, and the language that is used by them and about them offers an insight into gender roles. Clare Walsh reviews the current dominance/difference debates, and proposes a new analytical framework which combines the insights of critical discourse and feminist perspectives on discourse to provide a new perspective on the role of women in public life. A superbly accessible book designed for students and researchers in the field, the book features: - topical case studies from the arenas of politics, religion and activism- a new analytical framework, also summarised in chart form so the reader can apply their own critical analyses of texts. - written and visual text types for the reader's own linguistic and semiotic analysis. 'This important book takes up a neglected question in the study of language and gender - what difference women make to the discourse of historically male-dominated institutions - and brings to bear on it both the insights of feminist scholarship and evidence from women's own testimony. Clare Walsh's analysis of the dilemmas women face is both subtle and incisive, taking us beyond popular 'Mars and Venus' stereotypes and posing some hard questions for fashionable theories of language, identity and performance. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Teacher as Public ArtSheila Wright (bio)I entered the public art arena as an idealist optimist. Now, two decades later, I am a pragmatist realist. How did my dream of a populist marketplace turn into a nightmare?—Richard Posner, Artist vs. PublicLike Posner, many faculty members enter the academy as idealists, optimistic that their goals for and the promise of higher education will be fulfilled and their quest for knowledge inspired, (...) only to discover years later that they have become pragmatist realists.1 For many, change is necessary for survival, career success, and fulfilling dreams. At what point, however, might otherwise idealistic, visionary, and highly capable people become oppressed, disillusioned, and/or marginalized as professors? Under what conditions do professional dreams of transforming education and critical pedagogy become frustrated by rigid adherence to the status quo? How might initial aspirations of achieving a higher education become politicized and racialized as seemingly inescapable nightmares?For some faculty—particularly those of color and, especially, women working in historically white institutions—the assault on dreams occurs not only in nightmares during sleep but as monochrome, white-mares while awake.2 So, what does it mean just to be a professor in an environment where the simple quest to teach, conduct research, and serve can be frustrated by faulty, stereotypical, and often hostile assumptions, attitudes, and reactions to gender and skin? How might professors in these circumstances [End Page 83] respond to social constructions that manifest as body politics and racialized consciousness while simultaneously celebrating their identity, inner spirit, and cultural self—their ideals and visions? How do professors in these situations respond to institutional policies and practices and the social, cultural, and political nuances of place? Further, how can professors learn from their experiences and strive for meaningful transformation without the risk of being viewed as an "other," "unorthodox," an "activist," or worse?In this article "teacher as public art" is used as a metaphor to describe and explain the all-too-common perceptions and experiences of professors of color, especially women, within the academy. More specifically, this article reports findings from a qualitative study focused on what it means to be a woman of color in the academy. The findings presented are consistent with those encountered in a growing body of literature on the topic. Like other work in this area, an analysis of historical contexts can provide a critical link to understanding the cultural nuances framing the formation of professors' work identities. Triangulated data for this study included a visual art exhibition, personal reflections on the experiences of teaching in higher education, and formal research involving women faculty of color. Data were analyzed and interpreted based on literature defining the three worlds of professorship (scholarship, teaching, and service). The presentation of results and findings included here is intended to encourage further conversation regarding the retention, promotion, and tenure of faculty of color.Information and PerspectiveHighlighted throughout this discussion are (1) the relevance of locating self within the context of people and place; and (2) the importance of bringing meaning, authenticity, and credibility to teaching and research through continued reflection, self-assessment, and inquiry. The case presented is essentially a first attempt to accomplish these goals using self-study, personal experience, and public knowledge as an integrated vehicle for professional transformation. As both the researcher and a participant, the process required that I be simultaneously subjective and objective in order to examine the multiplicity of dialogues related to the professional self. In other words, the process required that I honor the voice of the person within—for example, artist, professor, woman, person of color—while, as a researcher, at the same time honoring the voices of those who participated in the study. As someone who came late to the academy (I was forty when I received my first tenure-track position), I drew for this study not only upon my prior experience and identity as a professor and educational researcher but also upon a myriad of pre-academy experiences and identities as, for example, an artist, art educator, administrator, and aspiring social reformer. The dynamic relationship [End Page 84] between those various identities facilitated and sustained a more cohesive... (shrink)

Aging is accompanied by stereotyped changes in functional brain activations, for example a cortical shift in activity patterns from posterior to anterior regions is one hallmark revealed by functional magnetic resonance imaging (fMRI) of aging cognition. Whether these neuronal effects of aging could potentially contribute to an amelioration of or resistance to the cognitive symptoms associated with psychopathology remains to be explored. We used a visual illusion paradigm to address whether aging affects the cortical control of perceptual beliefs and (...) biases. Our aim was to understand the effective connectivity associated with volitional control of ambiguous visual stimuli and to test whether greater top-down control of early visual networks emerged with advancing age. Using a bias training paradigm for ambiguous images we found that older participants (n = 16) resisted experimenter-induced visual bias compared to a younger cohort (n = 14) and that this resistance was associated with greater activity in prefrontal and temporal cortices. By applying Dynamic Causal Models for fMRI we uncovered a selective recruitment of top-down connections from the middle temporal to Lingual gyrus (LIN) by the older cohort during the perceptual switch decision following bias training. In contrast, our younger cohort did not exhibit any consistent connectivity effects but instead showed a loss of driving inputs to orbitofrontal sources following training. These findings suggest that perceptual beliefs are more readily controlled by top-down strategies in older adults and introduce age-dependent neural mechanisms that may be important for understanding aberrant belief states associated with psychopathology. (shrink)

This paper examines gender aspects of tactics of the alter-globalization movement. Focusing mainly on two transnational collective actions in Prague in 2000 and in Genoa in 2001, the research draws on participant observation, interviews with activists and analysis of the movement's alternative media. The feminist activism within the movement, the gendered tactics and their representation in the alternative media are analysed using the concept of diffusion. Although feminists are involved in the protests, and local Czech feminist activism was incited by (...) the international mobilizations in Prague in 2000, they are often marginalized because of the emphasis on masculine confrontational and violent tactics used in demonstrations. The movement's alternative media further reproduce gender stereotypes. The visual representations of the tactics are traditionally gendered – women are depicted as fairies, men as fighters; this is because the movement does not want to appear weak and feminine, and seeks to be effective. (shrink)

This study focused on cultural differences in the portrayal of gender in British and Japanese television advertisements. In all, 196 British advertisements were analyzed using a coding scheme based on established coding categories. Contrary to prediction, chi-square analyses showed less gender stereotyping in these advertisements than reported in previous British studies. Next, 228 Japanese advertisements were analyzed. It was found that Japanese advertisements showed a high degree of gender stereotyping as could be expected from Japan's high masculinity score. Analyses were (...) carried out for ‘visual’ and ‘aural’ characters, and for advertisements with both one and two central figures. Results for the aural and 2-central figure sub-samples were more significant. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:preface That an overtly white-nationalist misogynist demagogue was voted into power in the United States is cause for alarm and despair. As the election results sink in and analyses take shape, we at Feminist Studies mark this moment via poetry, a tradition of feminist expression that we have long nurtured. We include in this issue a special section on poems responding to the election. Raw by necessity, they allow (...) for a collective processing of feelings experienced in this moment, even as we prepare for the courage and acuity needed in days ahead. The scholarly works in this issue offer reflections on the travels of the term gender: in French Canadian feminist circles; the misreadings of gender and sexuality in histories of post-WWII New York City; and the gains and gaps in activism against gender-based violence and inequality. Geneviève Pagé recounts how the term gender was taken up in French Canadian scholarship, while Alix Genter offers a visual history of what butchness meant in 1950s and 1960s New York City. Julie R. Enszer tracks the representation of women writers through literary grants offered by the National Endowment for the Arts and in Norton anthologies, making the case that gender parity remains an elusive goal. Elizabeth Jean Hornbeck narrates the 1980 horror film The Shining as a commentary on violence against women and child abuse that uses the Gothic form to salutary effect. Nikki Lane reviews recent scholarship in black queer ethnography, and Jennifer A. Wagner-Lawlor introduces us to the feminist eco-art of Pamela Longobardi. Our featured poets, apart from our special section, are Hannah Baker Saltmarsh and Karen An-hwei Lee. Our closing forum on trigger warnings narrates the innovative practices that Alexis Lothian and Ramzi Fawaz propose in response to a contentious pedagogical debate. 560Preface Geneviève Pagé describes the history of the journey of the term gender in feminist circles in Montreal, using this case to comment on the dilemmas that arise from Anglocentrism in feminism. Pagé argues that in many ways, the term gender was not well suited to the context she highlights: Quebec feminists already possessed an intellectual infrastructure for referencing the meanings of the term gender through alternative phrasing, such as rapport sociaux de sexe. Furthermore, the grammatical concept of genre was “a concept central to the French language, but only peripheral in the English language,” and therefore, its use in French carried a potential “naturalizing” connotation. Nonetheless, given the dominance of English in feminist theory, Pagé concludes that “the polysemic nature of gender” allowed “for a fluid and multiple account of the local and global processes at work in the construction of women and men” in this context. Alix Genter gives us a nuanced understanding of butch genders and butch-femme aesthetics. Rather than relying on a stereotypical version of the 1950s queerly legible butch in masculine clothes, Genter argues that butchness itself was visually nuanced and coded in different ways than expected. Referencing a rich archive of 1950s-era photographs, Genter demonstrates that butch-identified women “conveyed their identities through alternate means that included clandestine codes and plays on women’s fashions.” This approach to butch aesthetics and lesbian self-representation opens up the common notion of a strict butch-femme contrast and introduces the concept of conscious mutual survival between the two lesbian identities. The appreciation of nuance continues in Nikki Lane’s review essay of reflexive ethnographic research about black queer communities. Lane’s review of recent work by Jafari S. Allen, Marlon Bailey, Mignon Moore, and Mireille Miller-Young highlights the attention these authors give to the complex politics of sexuality in everyday experiences of black communities. With an emphasis on the illuminating potential of ethnography and qualitative methodologies, Lane discusses how each text adds to our understanding of processes of “racialization, gendering, and sexualization.” Lane concludes that black queer and feminist ethnographic methods help accrue an embodied knowledge—the “flesh”—of black queer experience. Preface 561 The art featured in this issue is by Pamela Longobardi, who uses found-plastic objects to create painting, sculptures, installations, assemblages, photographs, and community-art projects. As an artist with training in biology, Longobardi focuses on the... (shrink)

Depicting transgender persons in comics without falling into visual caricature and thereby perpetuating harmful stereotypes can be a delicate task. In this discussion, I draw upon the notion of picture-reading to argue that, despite this fact, comics as a medium is particularly well-suited—both formally and in terms of production-relevant factors—toward capturing and communicating the complexities of transgender experience.

It has been suggested that difficult-to-quantify differences in visual processing may prevent researchers from equating the color experience of different observers. However, spectral locations of unique hues are remarkably invariant with respect to everything other than gross differences in preretinal and photoreceptor absorptions. This suggests a stereotyping of neural color processing and leads us to posit that minor differences in observer neurophysiology may be irrelevant to color experience.

Publication date: 27 August 2018 Source: Author: Chadi Chahdi This article throws into relief the tropes by which Hollywood has come to churn out identical Arabs bent on destruction, yet ones that need to be salvaged. However, the salvation process is never complete because the Arabs are not worthy of redemption, which sinks them further into the abyss of darkness. The representation of Arabs in Hollywood movies mostly aims at disseminating a stereotypical image that demeaningly homogenizes their cultures and identities. (...) Hollywood here participates in a process of imperial hegemony. The repetition in producing such imagined culture of Arabs and Muslims is seen as a hegemonic act of naturalizing orientalist ideologies that tend to over-idealize the Western culture and relegate the Eastern counterpart. In this light, this article attempts to deconstruct the visual representations produced to malign and vilify Arabs in Hollywood movies. Such movies are always premised upon a structure of binary oppositions that establish a motion picture of a civilized center dominating the margins, the so-called uncivilized subjects. (shrink)

Pictures in historical chapters of textbooks convey information about the values and assumptions of the authors’professions and the larger culture. We scrutinized 15 recent abnormal psychology textbooks for reproductions of art created before 1900. Thirteen works appeared in three or more textbooks. Overall, these pictures support a “Whiggish” account of history that celebrates the present and gives a distorted, incomplete rendering of the past. The 13 pictures tended to depict the mentally ill as an underclass who are released from their (...) literal and metaphorical shackles by men who are “ahead of their time” in their struggles against prevailing ignorance. The pictures also emphasized the difference of the mentally ill by presenting a catalogue of stereotypic visual elements attributed to insanity throughout Western history. We argue for the inclusion in textbooks of “history for the sake of the past” as a way of genuinely engaging different ideologies and thereby stimulating interest in our own implicit values and biases. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Vergil's Aeneid and the Roman Self: Subject and Nation in Literary DiscourseJames J. O'HaraYasmin Syed. Vergil's Aeneid and the Roman Self: Subject and Nation in Literary Discourse. Ann Arbor: The University of Michigan Press, 2005. x + 277 pp. Cloth, $65.This book, which "began as a PhD dissertation at the University of California, Berkeley" (1997), tackles a timely, large, and difficult topic, possibly a topic too difficult to (...) be handled in a satisfactory way in a dissertation and first book. In sum, it makes a decent but flawed contribution on a topic that needs much more work, and in some ways, much more careful work.Two introductory chapters describe the importance of the Aeneid in imperial culture and the role of manipulation of the emotions in ancient theories of rhetoric. In a section called "The Reader's Subject Position," two chapters (both largely on Aeneas and Dido) treat "The Gaze" and "The Spectacle of Emotions." In the next section, on "Gender and Ethnicity," four chapters treat "Gendered Emotions" (before Allecto's visit, Amata is worried, but Turnus is calm; "frenzy, then, is female," 122), "Gendered Ethnicity" (Dido's characterization as Punic "is hard to detect because it is blended with her lover's persona," but it is still significant, 145), "Cleopatra and the Politics of Gendered Ethnicity" ("Augustan representations of Cleopatra form the birth of the Western discourse of orientalism," 177, somewhat overstated, but with interesting ideas about the connection between Cleopatra and Dido), and "Romanitas" (Greek stereotypes, and others, define Romans but are characterized by a "fundamental ambivalence," 203). A brief conclusion ends the book.The interesting argument that Syed makes in the first few chapters is "that the Aeneid used its visuality and its sublime style to appeal to the readers' emotions, and that it created a fictional space for an internal reader within the poem for [End Page 317] 316 whom the poem could articulate an identity by creating various fictional characters as figures of identification" (35). Both these and later chapters offer a mix of the new, the familiar, and, at times, the unconvincing. Two of the book's flaws are actually signaled in the surprising final paragraph, which declares that the book's "most glaring omission has been that of considering more Italian characters and generally of giving more attention to the second half of the poem" (227). Syed says that this "focus" on other aspects of the poem "has been a personal decision on my part," but it is hard to imagine thinking about "subject and nation" in the Aeneid without discussing the relationship between Rome and Italy both in the poem and in Vergil's world; see C. Ando, "Vergil's Italy: ethnography and politics in first-century Rome," pp. 123–42 in D. S. Levene and D. Nelis, eds., Clio and the Poets (Leiden, 2002), whose date is probably too close to Syed's publication date. Presumably there will be a full discussion of Rome and Italy in Alessandro Barchiesi's forthcoming The Geopoetics of Vergil's Aeneid.The lack of attention to Books 7–12 is also a problem, because often the arguments Syed makes about the parts of the Aeneid that she does treat are less convincing when we think about passages in the second half of the poem. The claims that Aeneas has a special ability "to control his emotional responses to the world" (70) and that "in contrast to Aeneas, whose emotions are carefully controlled, many characters in the poem give free rein to their emotions" (87), surely cry out for a consideration of Aeneas' rampage after the death of Pallas in Book 10 and the rage with which he kills Turnus in the poem's final lines. The discussion of Dido's wounds and of Lavinia's association, through allusive simile, with the wound of Menelaus (125–35) is fairly good. But Syed does not mention that Turnus at the start of Aeneid 12 is compared to a wounded deer, or that right before the Lavinia scene Vergil says Turnus "grows sicker with the attempt to heal" (aegrescitque medendo, 45). Lavinia is indeed associated with Menelaus by allusion, but Aeneas... (shrink)

This study investigates the intricate process of visualizing the concept of paradise through the lens of Artificial Intelligence (AI), employing neural networks to craft intricate visual depictions of utopian realms. The project scrutinizes the prevalent themes associated with paradisiacal imagery, dissecting the intricate weave of religious doctrines, mythologies, and the intrinsic nature of paradise – be it a tangible realm or a metaphysical state. This inquiry critically assesses the role of AI-generated art, derived from complex algebraic formulations, in mirroring (...) conventional iconography and exposing inherent biases. Such revelations underscore the cultural resonance of diverse traditions and the potential presence of subconscious prejudices. Employing AI algorithms capable of transforming textual prompts into vivid illustrations, this research unveils insights into the nexus of AI and cultural portrayals of utopia, thereby provoking profound philosophical deliberations. Central to these contemplations is the extent of human dominion over conceptualized ideals and the prospect of AI-crafted art inadvertently molding our paradisiacal perceptions, with implications ranging from reinforcement of stereotypes to shaping intrinsic cognitive schemas. (shrink)

The article advocates the importance of studying conceptual meaning and change in modern mass media and highlights the significance of conceptual intermediality. The article first analyzes anger in Hindi cinema as an audiovisual key concept within the framework of an Indian national ideology. It explores how anger and the Indian angry young man became popularized, politicized, and stereotyped by popular films and print media in India in the 1970s and 1980s. The article goes on to advocate for extending conceptual history (...) beyond language on theoretical grounds and identifies two major obstacles in political iconography: the methodological subordination of visuals to language in the negotiation of meaning, and the distinction of emotion and reason by assigning them functionally to different sign systems. (shrink)

Mystic -- Grundriss -- Breath -- The poem as a visual opening -- Silences of depth -- Multiple meanings of the heart -- Ariel -- The sacramental value of colors -- The turning -- Performing the feminine -- Bodies in poetry, bodies in the world -- White as lighting and depth -- In her own voice -- Striking a balance -- The moon and the yew tree -- A heavy light-ing -- Opening onto the feminine body -- Other ways (...) of listening and seeing the poem -- In the name of the mother -- Inside the suicidal body -- Facing the other -- Engendering sexes -- The arrival of the bee box -- Arriving -- Tensions and resistance -- The blond colonnades -- Swarms: plath's stereotypes -- Plath and racial imagery -- Plath's racism, beyond the bee box -- Letting be(e) -- Appropriation and releasement -- The box is only temporary -- Epilogue: Performing the spiritual for Plath, Heidegger, and Merleau-Ponty. (shrink)

The paper analyzes a handful of works for children and youth that are based on mythology and deal with depression, a topic that is becoming more frequent in contemporary children’s and young adults’ culture, mainly because of the need to break the mental he­alth taboo. These are the newest edition of Laura Orvieto’s Storie di bambini molto antichi, Rachel Smythe’s digital comics Lore Olympus, Patricia Satjawatcha­raphong’s short animation Reflection, and the webcomic series Therapy created by Anastasia Gorshkova. They provide examples (...) from literary and audio-visual culture for very young re­aders and more adult teenagers and youth, raising the issue of deep sadness utilizing storytelling and not in a didactic way. Some of the protagonists struggling with the problem are far from lively chara­cters in conventional interpretations of the myths, so the texts play upon stereotypes entrenched in the culture. It appears that children’s works inspired by classical antiquity have significant interpretative potential and educational value – as well as the ability to surprise the audience. (shrink)

From a marketing point of view, front labels play a crucial role in the consumers' relatively quick decisionmaking process when buying wine in retail stores. The aim of this paper was to reveal which semiotic code systems, in particular, colors, visual representations, and designs, as well as verbal representations, Austrian wine producers use on the front labels of their red wine bottles. For that purpose, the method of content analysis was applied on a representative corpus of red wine labels. (...) Our empirical study showed that the wine labels analyzed especially appeal to price sensitive customers through the employment of light colors. In addition, wine producers do not seem to apply the “visualtotaste lexicon” as the labels rarely show the color “red.” Furthermore, in a large number of cases the wine producers use their family names as brand names of their wines. Moreover, both the depiction of crests and landscapes and the application of indexical brand names, emphasize the Austrian origin of wines. Finally, the extensive use of English brand names appears to connect wines to the social stereotypes of modernity, prestige, and progress. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Unsaying Life Stories:The Self-Representational Art of Shirin Neshat and GhazelAphrodite Désirée Navab (bio)What connects the two artists in Figures 1 and 2 across time and place? (See pages 40 and 41.) The protagonists seem to be so "at home" in their landscape that they do not stand out as disruptions to a cultural rhythm. They are wearing clothing that symbolizes Iran, and they are in an environment that evokes (...) Iranian art and architecture. In Figure 1, a scene in Shirin Neshat's video Soliloquy (1999), a woman stands near the kind of dome one often sees in Islamic architecture; the compatibility of the curved and the straight lines is striking. The woman is washing herself, possibly in preparation for prayer. Her hands are artistically dyed with henna. Her eyes are closed as the water runs down her face. She seems to be unaware of the camera, involved in a private moment, a purification ritual perhaps. Her clothing, her hands, and the architectural background are all consistent with familiar images of the Middle East. The woman marching in a black chador in a video still by Ghazel (Figure 2) also seems to be quite "at home." The text underneath the image says that both her grandfathers were colonels. This "bothness" is repeated by the text written underneath the image, which appears both in English and in French. She marches to the right of the frame with the straight posture and hint of pants and boots characteristic of a soldier. Like the protagonist in Neshat's video, she neither looks at the camera nor seems to care that it is there. She seems to be re-enacting a private moment of family history.At least, this is what the images say at first glance. Upon closer inspection, the viewer learns that the two protagonists are the artists themselves. They are more than conscious of the camera; they have actually directed these visual narratives. They are posing. This is one role from among many that they could have played. Both artists are native to Iran, but they are [End Page 39] acting in their own productions. They are playing a particular role. They have made the directorial decisions about camera angle and distance, about the time and place, and about the final look of the production. They make images: they are fully aware that they have pictured themselves alongside symbols of Iran. Click for larger view View full resolutionFigure 1.Shirin Neshat. Soliloquy, 1999, production still.So why are they pretending not to be conscious of the camera? The conscious decisions of the artists point to an issue that is left unsaid but whose absence says a lot. Perhaps, beneath all this effort to seem comfortable, there is discomfort as well. Are these people in fact "at home," or has home become foreign to them? Has this alienation propelled these artists to picture themselves together with readily identifiable, traditional markers of Iranian culture? Are these productions a way of re-negotiating their place with their native land, to find a voice, a space from which to speak?Culturally hybrid persons are often caught in the crossfire of prejudices. For hybrid Iranians, these prejudices are exacerbated by international political tensions that fall along three dimensions of limited visions. They include historical prejudice, where each nation dominates the other in the telling of history; cultural prejudice, stemming from mutual suspicion and ignorance; and political prejudice, as a result of inflexibility, of an unwillingness to [End Page 40] envision the other's view. Art can be a powerful means for challenging the stereotypes of mutually antagonistic nations. In autobiographical art, moreover, artists may use the "telling-self" to "unsay" what has been attributed to them through these stereotypes. By literally and metaphorically engaging the public in seeing alternative realities and histories, these artist-philosophers offer an alternative of historical collaboration, cultural knowledge, and political flexibility. Click for larger view View full resolutionFigure 2.Ghazel, Me series, 1997–2000, video still.This deconstructive approach to representation is a significant feature of the camera-based work of two contemporary Iranian women artists: Shirin Neshat (b. 1957) and Ghazel (b. 1966... (shrink)

The article deals with the concept of femme fatale as presented in Gladys Huntington’s 1956 novel Madame Solario. The eponymous protagonist, Natalia Solario, displays several characteristics of this female archetype, omnipresent in literature, culture and visual iconography. As a femme fatale, Natalia is beauty, danger and mystery incarnate. The cause of tragedies, but also a tragic figure herself, Madame Solario is both victim and victimizer. The article explores the interplay between innocence and experience, life and death, the erotic and (...) the thanatic, as well as the motifs of transgression, ambiguity, love, passion, desire, perversion, dominance and control crucial to Huntington’s novel. Madame Solario reminds us that, paradoxically, the femme fatale usurps certain stereotypically masculine traits. This, in turn, brings us to the novel’s feminist dimension: the femme fatale is victimized by men, but she is also the agent of female revenge and, ultimately, liberation, symbolically marking the transition from patriarchy to women’s emancipation. (shrink)

At the intersection of modern cultural and political history, security studies and debates about freedom of expression and international human-rights law, this article aims to contribute to a better understanding of political cartooning and its implications in multicultural societies of Europe, which have shifted in a geographical, cultural, normative, communicational, political and many other respects through the last two centuries. Through comparison of the Serbian cartoons from late nineteenth-century Croatia and the recent Danish cartoons of the Prophet Mohammad, the article (...) reveals that both modern and postmodern European cartoons have been centred around equally discriminatory narratives: a 'clash of civilizations' and 'racialization of religion'. Since open racial stereotyping in cartoons became illegal in the postmodern international regulations, traditional discriminatory practices of cartooning have shifted towards subtle, 'liquid' racism. This decodes some of the twelve Danish cartoons as ambiguous strategies of racialization of Muslim immigrants in Europe but also as hate speech which is illegal in the European Union, and member states of the Council of Europe. The author concludes that the most current European and international regulations of hate speech, whether concerning offline media or online media, actually protect free speech. While a truly clear-cut regulation of liquid racism might remain problematic in Europe due to the lack of a universally accepted definition of hate speech, neither strict legal regulations nor different definitions of hate speech could diminish the role of political cartooning as a viable free speech platform in the multicultural landscape of Europe. Ultimately, what diminishes its viability is the enduring lack of diversity in the creation of visual satire, which could and should reflect the multicultural reality of communities, politics and societies in Europe. (shrink)

The subject of the study is the color meaning in the film of the famous Chinese director Zhang Yimou "Hero", the conceptual understanding of color as the main semantic element of the artistic solution. The object of research is the techniques of visual solutions in cinema. The perception of color in the culture of different peoples differs in certain nuances and depends on many factors, including national traditions and historically established stereotypes. Films by Chinese, Korean, and Japanese filmmakers (...) are interesting from the point of view of color solutions, as they differ in artistic originality and often offer the Russian audience an extraordinary semantic solution of the idea not only at the level of comprehension of the content, but also at the level of a specific color palette. The author similarly examines the color symbolism of Zhang Yimou's film "Hero". The conceptual content of the visual-figurative series, the originality of the coloristic solution of the film is comprehended. The scientific novelty of the article lies in the study of the color symbolism of Zhang Yimou's film "Hero" in the aspect of the correlation between the perception of the coloristic solution of the visual series and the conceptual content of the film. The author comes to the conclusion that despite the ambivalence of perception of a particular color in visual art, the coloristic solution is predetermined by the conceptual content of each episode, so color becomes the leading semantic concept of Zhang Yimou's film "Hero". (shrink)

According to Ernst Gombrich, cartoons provide us the chance to “study the use of symbols in a circumscribed context [and] find out what role the image may play in the household of our mind” (Gombrich 1973, 190). This paper looks at some underexplored implications and outcomes of Ernst Gombrich’s conceptual schemata when such a schemata is applied to cartoons. While we might easily avoid defamatory reference when picking out a subject in writing or speech, cartoon depictions, especially those unaccompanied by (...) speech bubbles or captions, often rely on a visual symbolism typified by the warping of some features the removal of others, and the manifestation of some visual trope or other, more easily lend themselves to defamatory reference. While harms to the referent are many in cases of defamatory cartoons, this paper focuses on the harms to the viewers of such cartoons by the depicter’s message and mode of representation, unique to the cartoon form. I will focus on the harms of misinformation of the viewer by the visual schemata (Gombrich 1960) present in certain cartoons, and the way this misinformative visual schemata (Ibid) may also restrict the possibility of conceptual revisions in its viewership. Harms of this kind come out uniquely in cartoons via norms of cartooning (as a particularly stylized and symbolic mode of visual representation) and the norms of interaction employed in the act of viewing a cartoon. As we’ll see in our case study of the infamous Jyllands Posten cartoons of Muhammad the Prophet, even in cases where a cartoon representation bears no visual similarity to its referent, viewers can easily and reliably pick out the referent by calling to mind, in our focal case, the defamatory stereotypes, stock figures and icons inextricably linked with the referent. I argue that the damage to viewers of these sorts of depictions lies not in the fact that the viewer manages to pick out the intended referent of the depiction but what tools they use to pick out the referent and how such tools of reference (mis)inform their understanding of the referent they’ve picked out. (shrink)

Laughter and yawning can both occur spontaneously and are highly contagious forms of social behavior. When occurring contagiously, laughter and yawning are usually confounded with a social situation and it is difficult to determine to which degree the social situation or stimulus itself contribute to its contagion. While contagious yawning can be reliably elicited in lab when no other individuals are present, such studies are more sparse for laughter. Moreover, laughter and yawning are multimodal stimuli with both an auditory and (...) a visual component: laughter is primarily characterized as a stereotyped vocalization whereas yawning is a predominantly visual signal and it is not known to which degree the visual and auditory modalities affect the contagion of laughter and yawning. We investigated how these two sensory modalities contribute to the contagion of laughter and yawning under controlled laboratory conditions in the absence of a social situation that might confound their contagion. Subjects were presented with naturally produced laughter and yawning in three sensory modalities, and we recorded their reaction to these stimuli. Contagious responses differed for laughter and yawning: overall, laughter elicited more contagious responses than yawning, albeit mostly smiling rather than overt laughter. While the audio-visual condition elicited most contagious responses overall, laughter was more contagious in the auditory modality, and yawning was more contagious in the visual modality. Furthermore, laughter became decreasingly contagious over time, while yawning remained steadily contagious. We discuss these results based on the ontogenetic and phylogenetic trajectories of laughter and yawning. (shrink)

This paper seeks to explore the attraction and the beauty of the contemporary athletic body. It will be suggested that a body shaped through muscular bulk and definition has come to be seen as aesthetically normative. This body differs from the body of athletes from the early and mid-twentieth century. It will be argued that the contemporary body is not merely the result of advances in sports science, but rather that it is expressive of certain meanings and values. The (...) class='Hi'>visual similarity of the contemporary athletic body and that of the comic book superhero suggests that both bodies carry a similar potential for narrative story-telling, and that their attraction is bound up with this narrative potential. The superhero and athlete live meaningful lives, pursuing clear and morally unambiguous goals. The aesthetic attraction of the body lies in its capacity to facilitate the articulation of a story of a meaningful life, and to do so in the face of the growing anomie and thus meaninglessness of life as experienced in contemporary society. Athleticism offers an illusion of meaning, serving to reproduce dominant justificatory narratives and social stereotypes. Yet, as an illusion of meaning, it may be challenged and negotiated, not least with respect to its bias towards a certain form of the male body. The female athletic body disrupts the illusion, opening up new existential possibilities, new ways of living and being, and thus new, and potentially disruptive, narratives. (shrink)

The centuries-long evolution of the iconography of Niccolò Machiavelli is itself a chapter in the history of Machiavelli’s reputation. As intuited by one of his foremost biographers, Oreste Tommasini, portraits of the Florentine are probably best considered as visual expressions of philosophical and literary anti-Machiavellism, which exercised, in their own way, a negative influence on the reception and interpretations of his writings. The Machiavelli who we have seen represented over the course of history in paintings, prints, and engravings may (...) be nothing more, therefore, than a Machiavellian persona: the visual translation of a conventional and stereotypical interpretation, which considers the author of The Prince to be the champion of a politics based on duplicity, cunning, deceit, and guile. This essay examines the origins and dissemination over the centuries of ‘La Testina’, one of the most celebrated and widely publicized portraits of Machiavelli. The conclusion, after comparing all of the extant variants of this portrait, is that it is an unfaithful and invented graphic representation of Machiavelli, whose fortunes in publishing and in the collective imagination have kept pace with the spread of a demonizing interpretation of Machiavelli, the master of evil, well-rooted even today in mass popular culture. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 335-346 [Access article in PDF] Aesthetic Incunabula Ellen Dissanayake Incunabula n. pl. (f. L swaddling clothes, cradle): Early stages of development of a thing.Over the past thirty years, developmental psychologists have discovered remarkable cognitive abilities in young infants. Before these investigations, common pediatric wisdom accepted that apart from a few innate "reflexes"--for crying, suckling, clinging, startling--babies were pretty much tabulae rasae for their elders (...) to inscribe as they (and their cultures) decreed. Today, however, it is well established that newborns come into the world with decided preferences and motivations, so that one can speak intelligently of "neonatal" (or even "fetal") psychology. 1The demonstrable existence of inherent psychological capacities in newborns and infants has important implications for twenty-first-century literary theory, which--also over the past thirty years--has operated under the theoretical assumption that all knowledge and experience are mediated by culture and that there is therefore no "natural" psychological or emotional experience. Yet if, as infant psychology confirms, babies in every culture show the same or similar cognitive abilities and preferences and the same or similar motivations and emotional responses, it is necessary to modify the dogmatic assertion that all experience, including literary response, is socially constructed. Rather, adult psychology and experience grow from and build upon inborn motives and preferences. Literary theorists can no longer ignore contemporary knowledge in psychobiology, ethology, and evolutionary psychology that directly pertains to conceptualizing their subject.The innate capacities of newborns predispose them specifically for social and emotional interaction with others, not simply for soliciting [End Page 335] their physical care. For example, newborns prefer human faces to any other sight (high-contrast colors, cartoon characters, cute stuffed animals) and human voices to any other sound (soft music, tinkling bells, The Chipmunks). 2 They can imitate face, mouth, and hand movements and respond appropriately to another person's emotional expressions of sadness, fear, and surprise. 3 At birth, infants can estimate and anticipate intervals of time and temporal sequences and remember these temporal patterns, categorizing them both in time and space and in terms of affect and arousal. 4 By six weeks of age, these perceptual and cognitive abilities of normal infants permit them to engage with adult partners in complex communicative interchanges--the playful behavior that is commonly or colloquially called "babytalk."Babytalk is not the trival or inane pastime that it might superficially seem but, rather, a cradle in which nascent psychosocial capacities can emerge and be developed. Interestingly for literary theory, babytalk achieves these effects through fundamentally aesthetic means. Adult-infant engagements are noteworthy for their use of stylization (formalization or simplification), repetition, exaggeration, and elaboration in visual, vocal, and gestural modalities. I call these "aesthetic incunabula"--that is, sources (or early developmental stages) of the operations used by artists in all media to attract attention and to provoke and manipulate emotional response. The existence of sensitivities to such features in the first months of life suggests that humans are born with natural (innate, universal) predispositions for aesthetic engagement from which cultures and individuals can go on to create their myriad elaborated forms of artistic expression.Although babytalk varies in minor details among individuals and cultures, it can be described in all instances as a multimedia performance. That is, it contains not only "talk" (or the characteristic high-pitched, undulant, breathy, patterned, repetitive vocalizations with pauses called "motherese," "parentese," or "infant-directed speech"). Along with the utterances are peculiarly stereotyped, repetitive, and exaggerated facial expressions (such as widened eyes, uplifted eyebrows, sustained open mouth, and smiles), head movements (e.g., distinct bobs backwards, slow rhythmic nods, movement toward and away from the baby), and gestures (such as touching, stroking, and rhythmic pats) to which infants respond with their own vocal sounds and face and body movements and, in many societies, sustained mutual gaze.Babytalk is not only a performance, but a duet that incorporates both synchrony of behavior and alternation (or turn-taking)--activities that [End Page 336] are made possible by the infant's remarkable inborn sensitivity to temporal sequence and pattern. Microanalyses of videotaped interactions (at 24... (shrink)

In this article, I investigate the linguistic practices by which participants in online dating chats become authentic gendered and sexual beings in the virtual world. This process of authentication validates them as members of a specific gender or sexual group, which is a key prerequisite for engaging in the intricacies of online desire and eroticism. Authentication in this context is necessarily a discursive act because of the absence of visual or aural cues, and it takes place through linguistic strategies (...) such as the age/sex/location schema, descriptions of the self, and screen names. The resulting gender and sexual identities are sketches or stereotypes whose value derives from the acceptance of social and cultural discourses on gender and sexuality that are negotiated in the interactions. Authentication, therefore, is not an external process imposed upon people, but the result of specific social practices. (shrink)

While the low conviction rate for cases of sexual violence is often justified by the so-called ‘he-said-she-said’ nature of these cases, the increasing presence of digital evidence has begun to challenge this justification. This digital evidence can provide new opportunities for intervening in and prosecuting sexual violence. However, it may also be used against complainants or deemed still insufficient for proving guilt. Thus, while digital evidence may be challenging typical criminal justice responses to sexual violence, it may equally be utilised (...) to buttress entrenched stereotypes and criminal justice practices that lead to complainant dissatisfaction and serve to support low conviction rates. I draw on critical feminist legal theory, feminist engagements with digital technology and sexual violence, and visual criminology to theorise the burgeoning role of the digital witness in sexual violence cases. (shrink)