Female Grotesque: Orly Castel-Bloom and the Israeli Woman's Body

2012 ◽  
pp. 145
Author(s):  
Grumberg
Keyword(s):  
Female Grotesque ◽  
Woman's Body

Taxi! The Modern Taxicab as Feminist Heterotopia

2014 ◽  
Vol 9 (2) ◽  
pp. 213-232
Author(s):  
Anne E. Fernald
Keyword(s):  
Virginia Woolf ◽  
Maximum Power ◽  
Male Gaze ◽  
Real Place ◽  
Critical Relation ◽  
Transitional Mode ◽  
Mode Of Transport ◽  
Woman's Body

The taxicab operated as a crucial transitional mode of transport for bourgeois women, allowing them maximum power as spectators when it was still brave for a woman to be a pedestrian. The writings of Virginia Woolf, which so often depict bourgeois women coping with modernity, form the chief context in which to explore the role of the taxicab in liberating the modern woman. The taxi itself, clumsy and ungendered, encases a woman's body and protects her from the male gaze. At the same time, a woman in a taxi can look out upon the street or freely ignore it. As such, the taxi is a type of heterotopia: a real place but one which functions outside of and in a critical relation to, the norms of the rest of the community.

High Heels sebagai Agensi bagi Tubuh Wanita

2020 ◽  
Vol 5 (2) ◽  
pp. 196
Author(s):  
Sunandar Macpal ◽  
Fathianabilla Azhar
Keyword(s):  
Body Image ◽  
Literature Review ◽  
The Body ◽  
The Other ◽  
Body Image Disturbance ◽  
Other Hand ◽  
High Heels ◽  
Experience Pain ◽  
Woman's Body

The aims of this paper is to explain the use of high heels as an agency for a woman's body. Agency context refers to pain in the body but pain is perceived as something positive. In this paper, the method used is a literature review by reviewing writings related to the use of high heels. The findings in this paper that women experience body image disturbance or anxiety because they feel themselves are not beautiful or not attractive. The use of high heels, makes women more attractive and more confident, on the other hand the use of high heels actually makes women feel pain and discomfort. However, for the achievement of beauty standards, women voluntarily allow their bodies to experience pain. However, the agency's willingness to beauty standards here is meaningless without filtering and directly accepted. Instead women keep negotiating with themselves so as to make a decision why use high heels.

Woman's body symmetry and oxidative stress in the first trimester of pregnancy

2015 ◽  
Vol 27 (6) ◽  
pp. 816-821 ◽  
Author(s):  
Agnieszka Żelaźniewicz ◽  
Judyta Nowak ◽  
Bogusław Pawłowski
Keyword(s):  
Oxidative Stress ◽  
First Trimester ◽  
First Trimester Of Pregnancy ◽  
And Oxidative Stress ◽  
Woman's Body

Re-Imaging the Black Woman's Body in Alexis DeVeaux'sThe Tapestry

Modern Drama ◽  
1997 ◽  
Vol 40 (4) ◽  
pp. 514-525
Author(s):  
P. Jane Splawn
Keyword(s):  
Woman's Body

The Haunting ofBluebeard—While Listening to a Recording of Béla Bartók's Opera “Duke Bluebeard's Castle”

2005 ◽  
Vol 37 (1) ◽  
pp. 94-106
Author(s):  
Karen Mozingo
Keyword(s):  
Tape Recording ◽  
Heavy Body ◽  
Opening Line ◽  
As If ◽  
Woman's Body

A tall dark-haired man sits at a black, desklike, rolling cart in the center of a large empty room. Paint chips off the white walls, and dead autumn leaves cover the floor. The man is clean shaven and wears a black overcoat and black pants, but no shoes. Without speaking, he plays a tape recording of the overture to Béla Bartók's operaDuke Bluebeard's Castle (Herzog Blaubart's Burg). As the music begins, he rises and stands over a small dark-haired woman in a red dress, who lies on her back among the leaves, her arms stretched upward as if simultaneously reaching and waiting for something. The man hurls himself on top of her, and she drags his heavy body across the floor, her effort clearing a path through the leaves. As the overture becomes louder, the man rises and stops the tape player, rewinds it, and begins again, returning to his curled position on top of the woman's body. She drags him toward the chair, and as the music reaches the opening line, the man's efforts to stop, rewind, and fall onto her become more frantic. Suddenly he stands, lifting the tiny woman onto her feet and embraces her. Her hand creeps from under his arms and up his torso, inquisitively searching the surface of his chest, neck, and finally his face.

Lighten; Anyone Else; Woman's Body with Birds

2014 ◽  
Vol 40 (2) ◽  
pp. 353-355
Author(s):  
Lauren Camp
Keyword(s):  
Woman's Body
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