The (Pre)Posterity of Virgin Queen Iconography in Kapur’s Elizabeth Films

Screen Bodies ◽  
2018 ◽  
Vol 3 (2) ◽  
pp. 39-60
Author(s):  
Evdokia Prassa
Keyword(s):  
Golden Age ◽  
Female Sexuality ◽  
Material Object ◽  
Virgin Queen ◽  
Male Gaze ◽  
A Posteriori

This article examines the quotations of Elizabeth I’s iconic portraiture as Virgin Queen in Shekhar Kapur’s Elizabeth (1998) and Elizabeth: The Golden Age (2007), and their effect on our a posteriori conceptualization of the depicted body of the female sovereign. Using Mieke Bal’s concept of preposterous history, I argue that Kapur’s transposition of Virgin Queen iconography onto celluloid results in a “(complex) text” that “is both a material object and an effect” (1999: 14). Bal acknowledges that the complexity that lies in the material results of the artistic quotation is not necessarily subversive, as it is dependent on the quoting artist’s ideological premise. Indeed, Kapur’s intermedial quotation of Elizabethan portraiture imbues the highly complex body of the female ruler with contemporary heteronormative notions of female sexuality, thereby reducing it to an object for the male gaze.

scholarly journals Queen Elizabeth and the “Judgement of Paris”

2018 ◽  
Vol 18 (2) ◽  
Author(s):  
Erzsébet Stróbl
Keyword(s):  
Sixteenth Century ◽  
Early Modern ◽  
Golden Age ◽  
English Literature ◽  
Virgin Queen ◽  
Pastoral Tradition ◽  
Royal Women

The antique story of the Judgement of Paris was adapted to the language of courtly praise of royal women in sixteenth-century England. Absorbing the early modern interpretation of the tale as the praise of a balanced life (triplex vita), the motif lent itself well to the flattery of Queen Elizabeth appearing in the genres of poetry, pageantry, drama, and painting. However, within the Elizabethan context, the elements of the myth were slightly transformed in order to fit the cultural and political needs of the court. From the mid-1560s onwards, the elaboration of the theme became part of a broadening classical discourse within the praise of Queen Elizabeth, and the introduction of a fourth goddess, Diana, from the early 1580s foregrounded the emergence of her Virgin Queen cult. Furthermore, the tale of the Judgement of Paris represented a synthesis of the flattery of female excellence and the growing popularity of the pastoral tradition in English literature which highlighted the conceit of praising Elizabethan England as the land of a new Golden Age.

scholarly journals Female Sexuality in Contemporary Pakistani English Fiction

2019 ◽  
Vol 22 (4) ◽  
pp. 24-44
Author(s):  
Asim Karim
Keyword(s):  
Sexual Intercourse ◽  
Female Body ◽  
Female Sexuality ◽  
Cultural Representations ◽  
Male Gaze ◽  
Sexual Experiences ◽  
Commodity Fetishism ◽  
Women's Bodies ◽  
Sexual Autonomy ◽  
Collective Representation

Female sexuality has remained a taboo subject in Pakistani literary and cultural representations. However, a considerable shift has occurred in contemporary Pakistani English fiction. Focusing on female bodily behaviour, the fiction explicates multiple shades of female sexual relations and experiences outside the cultural and religious norms in an unusually direct and explicit fashion. This study analyses the way Pakistani fiction, written in English, responds to the variety of different ideologies imposed upon women’s bodies and sexuality. It analyses some key sexual experiences of pubertal sexual awakening, postmarital sex, women’s urge for proactive sexual intercourse, and disavowal of motherhood, pregnancy and birthing. The collective representation of female sexuality in each case embodies a transgressive experience outside the shame/shameless, licit/illicit binaries. However, the representation, despite its explicitness, does not constitute in any way women’s sexual autonomy against the predominant masculine discourses. The issues have been analyzed within the framework of debates on the female body, heterosexuality, the male gaze and commodity fetishism.

scholarly journals Gothic Noir Filmic Male Gaze: Gender Stereotyping in Margaret Atwood’s “The Freeze-Dried Groom”

2021 ◽  
pp. 119-136
Author(s):  
Manuela López Ramírez
Keyword(s):  
Female Sexuality ◽  
Film Noir ◽  
Female Identity ◽  
Gender Stereotyping ◽  
Male Gaze ◽  
Femme Fatale ◽  
Patriarchal Society ◽  
Artistic Representations ◽  
Freeze Dried ◽  
Males And Females

Stereotyping has been crucial in artistic representations, especially cinema, in the construction of gender paradigms. Males and females have been portrayed by means of simplified unrealistic clichés with the purpose of controlling and constraining them into patriarchal roles and conventions, promoting societal normative ideologies. Noir women are projections of male anxieties about female sexuality and female independence. In “The Freeze-Dried Groom,” Atwood unveils gender stereotyping through a typically film noir male gaze in three of its stock characters: the femme attrapée, the “detective” and the femme fatale. Hence, Atwood depicts a femme fatale to reflect not just on this character in film noir, but also on female identity, gender dynamics and feminism. She exposes and questions the marriage-family institution, and the patriarchal society as a whole.

scholarly journals Reclaiming Subjectivities: A Psychoanalytic-Feminist Perspective on Item Songs in Contemporary Indian Cinema

2019 ◽  
Vol 7 (2) ◽  
pp. 82-100
Author(s):  
Syed Zulkifil Haider Shah ◽  
Elijah Cory
Keyword(s):  
Textual Analysis ◽  
Female Sexuality ◽  
Indian Society ◽  
Male Gaze ◽  
Feminist Scholarship ◽  
Gender Performativity ◽  
Radical Feminist ◽  
Indian Cinema ◽  
Objectification Of Women ◽  
Female Bodies

Item Songs have recently become established as new genre of songs in the mainstream Indian Cinema, although they have remained a part of Bollywood movies since at least the 1970s. Such songs, despite their widespread appeal to masses, have often been panned by Film critics (particularly from the Radical Feminist School) for their erotic dances, and an overly glamorized and sexualized depiction of half-nude female bodies. Based upon the textual analysis of two popular item songs in recent Indian cinema, Sheila ki Jawani from Tees Maar Khan (2010) and Munni Badnam Hui from Dabangg (2010), this paper seeks to problematize such readings which focus exclusively on the issue of the objectification of women through the concept of the male gaze. Drawing upon more recent studies in Psychoanalytic Feminist Scholarship, the paper departs from this conventional understanding. It argues that such item songs can also be interpreted as a means of liberation for women, and as devices for reclaiming the narrative on female sexuality, and a woman’s right to her body. More broadly, using Judith Butler’s concept of Gender Performativity in the Feminist Phenomenological tradition, the paper argues that items songs can be construed as performative acts that subvert the male gaze and viewed as constitutive of new feminine subjectivities in  the contemporary Indian society.

Practical Correction of Three Fold Astigmatism in the Philips CM TEM

1996 ◽  
Vol 54 ◽  
pp. 418-419
Author(s):  
Arno J. Bleeker ◽  
Mark H.F. Overwijk ◽  
Max T. Otten
Keyword(s):  
Optical Properties ◽  
Phase Contrast ◽  
The Other ◽  
Objective Lens ◽  
Symmetric Part ◽  
A Posteriori ◽  
Contrast Transfer Function ◽  
High Brightness ◽  
Rotationally Symmetric ◽  
Brightness Field

With the improvement of the optical properties of the modern TEM objective lenses the point resolution is pushed beyond 0.2 nm. The objective lens of the CM300 UltraTwin combines a Cs of 0. 65 mm with a Cc of 1.4 mm. At 300 kV this results in a point resolution of 0.17 nm. Together with a high-brightness field-emission gun with an energy spread of 0.8 eV the information limit is pushed down to 0.1 nm. The rotationally symmetric part of the phase contrast transfer function (pctf), whose first zero at Scherzer focus determines the point resolution, is mainly determined by the Cs and defocus. Apart from the rotationally symmetric part there is also the non-rotationally symmetric part of the pctf. Here the main contributors are not only two-fold astigmatism and beam tilt but also three-fold astigmatism. The two-fold astigmatism together with the beam tilt can be corrected in a straight-forward way using the coma-free alignment and the objective stigmator. However, this only works well when the coefficient of three-fold astigmatism is negligible compared to the other aberration coefficients. Unfortunately this is not generally the case with the modern high-resolution objective lenses. Measurements done at a CM300 SuperTwin FEG showed a three fold-astigmatism of 1100 nm which is consistent with measurements done by others. A three-fold astigmatism of 1000 nm already sinificantly influences the image at a spatial frequency corresponding to 0.2 nm which is even above the point resolution of the objective lens. In principle it is possible to correct for the three-fold astigmatism a posteriori when through-focus series are taken or when off-axis holography is employed. This is, however not possible for single images. The only possibility is then to correct for the three-fold astigmatism in the microscope by the addition of a hexapole corrector near the objective lens.

The Golden Age of School Psychology?

1997 ◽  
Vol 42 (9) ◽  
pp. 842-844
Author(s):  
Elizabeth W. Brazelton ◽  
Patsy Barrett ◽  
Jain McGarity ◽  
Nancy Michael ◽  
Carolyn Paul ◽  
...  
Keyword(s):  
School Psychology ◽  
Golden Age
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