Attitudes Regarding Bisexuality Scale- Female Version

1999 ◽  
Author(s):  
Jonathan J. Mohr ◽  
Aaron B. Rochlen
Keyword(s):  
Female Version

What’s Hecuba to Shakespeare?1

2018 ◽  
pp. 264-294
Author(s):  
Tanya Pollard
Keyword(s):  
Sixteenth Century ◽  
Early Modern ◽  
New Model ◽  
Female Version ◽  
The Impact

When Hamlet reflects on the charged power of the tragic theater, the figure who haunts his imagination is Hecuba, Queen of Troy, whose tragedy came to define the genre in sixteenth-century Europe. As a bereaved mourner who seeks revenge, Hecuba offers a female version of Hamlet. Yet even while underscoring her tragic power, Shakespeare simultaneously establishes a new model of tragic protagonist, challenging the period’s longstanding identification of tragedy with women. In exploring why both Hamlet and Shakespeare are preoccupied with Hecuba, this chapter argues that ignoring the impact of Greek plays in sixteenth-century England has left a gap in our understanding of early modern tragedy. Attending to Hecuba highlights Shakespeare’s innovations to a genre conventionally centered on female grief. In invoking Hecuba as an icon of tragedy, Shakespeare both reflects on and transforms women’s place in the genre.

Does Anyone Really Identify with FemShep?

Gamer Trouble ◽  
2020 ◽  
pp. 137-170
Author(s):  
Amanda Phillips
Keyword(s):  
Video Games ◽  
Identity Politics ◽  
Mass Effect ◽  
Audre Lorde ◽  
Black Feminists ◽  
Diversity And Inclusion ◽  
The Future ◽  
Female Version

This chapter argues that we should understand identity in video games as a way to value incommensurable difference rather than organized diversity. It focuses on FemShep, the female version of the Mass Effect trilogy’s Commander Shepard, who became an icon of diversity and inclusion in conversations about video games. FemShep is not a fully realized woman in her own right, but a character designed as a man and minimally altered to become a “woman.” The chapter explores the ways that Mass Effect betrays these origins through improbable animations and relationship choices, comparing it to similar oversights in Lionhead Studios’ Fable 2, and then suggests that it is the fact that FemShep is not a fully realized character that makes her a useful rallying point for political gamers. The chapter closes by drawing from Black feminists Kara Keeling and Audre Lorde to propose that “unity in difference” is the future (and past) of identity politics, and that the individualist war hero so popular in video games is no way to implement a politics of coalition and justice.

Multi-purpose VHP-female version 3.0 cross-platform computational human model

2016 ◽  
Author(s):  
Janakinadh Yanamadala ◽  
Gregory M. Noetscher ◽  
Sara Louie ◽  
Alexander Prokop ◽  
Mikhail Kozlov ◽  
...  
Keyword(s):  
Human Model ◽  
Cross Platform ◽  
Female Version

scholarly journals Queering gender in contemporary female Bildung narrative

2015 ◽  
Vol 3 (3) ◽  
pp. 135-143
Author(s):  
Soňa Šnircová
Keyword(s):  
Coming Of Age ◽  
Turn Of The Millennium ◽  
Male And Female ◽  
British Novel ◽  
Female Bildungsroman ◽  
Female Version

Abstract The paper explores, in the context of feminist discussions about the Bildungsroman, a contemporary British novel that offers shocking images of female coming of age at the turn of the millennium. Queering gender and introducing male elements into the heroine’s process of maturation, the analysed novel appears to raise questions about the continuous relevance of the feminist distinction between male and female version of the genre. The paper however argues that although significantly rewriting both female Bildung and pornographic narratives, Helen Walsh’s Brass can still be read as a variation of the female Bildungsroman and an example of its contemporary developments.

VHP-Female Version 5.0 Computational Model

2020 ◽  
Author(s):  
Sergey Makarov ◽  
Gregory Noetscher ◽  
Janakinadh Yanamadala
Keyword(s):  
Computational Model ◽  
Female Version

VHP-Female Version 3.0 BASE Computational Model

2015 ◽  
Author(s):  
Sergey Makarov ◽  
Gregory Noetscher ◽  
Janakinadh Yanamadala
Keyword(s):  
Computational Model ◽  
Female Version

VHP-Female Version 2.2 Computational Model

2015 ◽  
Author(s):  
Sergey Makarov ◽  
Gregory Noetscher ◽  
Janakinadh Yanamadala
Keyword(s):  
Computational Model ◽  
Female Version

Isabella d’Este

2016 ◽  
Author(s):  
Deanna Shemek
Keyword(s):  
Food Production ◽  
Da Vinci ◽  
Family Relations ◽  
Leonardo Da Vinci ◽  
Musical Instruments ◽  
Court Culture ◽  
Art Collections ◽  
Andrea Mantegna ◽  
Wide Range ◽  
Female Version

Isabella d’Este (b. 1474–d. 1539) was the eldest child of Ercole I d’Este (b. 1431–d. 1505), second duke of Ferrara, and Duchess Eleonora d’Aragona (b. 1450–d. 1493). Raised in luxury and privilege, she was educated by humanists in a city that boasted an exceptionally refined court culture and one of Europe’s greatest universities. In 1490 she married Francesco II Gonzaga (b. 1466–d. 1519), Marchese of Mantua, and entered that city in triumph as its new princess. As Marchesa, she displayed extraordinary skills in management, diplomacy, and Politics, often counseling her husband and at times assuming the reins of government. All of Isabella and Francesco’s six children attained important positions among the European elite (See Family Relations). She is mainly remembered for her achievements not as a ruler, however, but as a collector of art and antiquities and the first woman in Europe to fashion a personalized gallery space in which to display her acquisitions. She called these rooms her studiolo and grotta, or her camerini. Her apartments also housed an impressive book collection, the musical instruments she was adept at playing, and other luxury items she collected (See Patronage, Collecting, Studiolo and Exhibition Catalogues). Her portraitists include Andrea Mantegna, Francesco Francia, Leonardo da Vinci, Titian, and Rubens. A woman of tremendous energies and intelligence, Isabella cultivated relationships with many writers and composers of her time. She also devoted notable attention to fashion, travel, gardening, food production and exchange, and the keeping of animals. Given her wide range of interests, her keen intelligence, and her extraordinarily active public profile, Isabella d’Este has often been regarded as a female version of the period’s “Renaissance men.” Her multifaceted life is recorded most visibly in the archive of her correspondence, now housed in the Archivio di Stato di Mantova (ASMn), where many thousands of her letters survive along with a wealth of official documents related to her court. Isabella d’Este’s art collections now reside in museums around the world, chief among these the Paris Louvre and the Vienna Kunsthistorisches Museum.

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