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In this paper, I argue that modelling occupies a curious role in the art making process, and that it constitutes a hybrid art form. Modelling is intriguingly under-research in aesthetics, despite it being a cornerstone of art education and deeply involved in various art practices. It functions both within a supportive role to further the goals of art making, while also retaining the creative agency and performance of the professional model upon which the artist, photographer, or wider crew rely. This ability entails not merely helping to steer a posing session, but experimenting with and adapting to any unexpected issues that arise in the course of the session. To understand the salient performative qualities of modelling, I first focus on expert movement, improvisation, and style. Second, I reflect on how modelling corresponds to creativity and skill. Finally, I propose that the model is a performer, and that, ultimately, modelling should be recognised as a hybrid collaborative art form which incorporates qualities of various performing arts.

In this paper, I argue that modelling occupies a curious role in the art making process, and that it constitutes a hybrid art form. Modelling is intriguingly under-research in aesthetics, despite it being a cornerstone of art education and deeply involved in various art practices. It functions both within a supportive role to further the goals of art making, while also retaining the creative agency and performance of the professional model upon which the artist, photographer, or wider crew rely. This ability entails not merely helping to steer a posing session, but experimenting with and adapting to any unexpected issues that arise in the course of the session. To understand the salient performative qualities of modelling, I first focus on expert movement, improvisation, and style. Second, I reflect on how modelling corresponds to creativity and skill. Finally, I propose that the model is a performer, and that, ultimately, modelling should be recognised as a hybrid collaborative art form which incorporates qualities of various performing arts.

[Purpose] The present study compared the physical characteristics and body composition of professional fashion models and women in general, utilizing the skinfold test. [Methods] The research sample consisted of 90 professional fashion models presently active in Korea and 100 females in the general population, all selected through convenience sampling. Measurement was done following standardized methods and procedures set by the International Society for the Advancement of Kinanthropometry. Body density (mg/ mm) and body fat (%) were measured at the biceps, triceps, subscapular, and suprailiac areas. [Results] The results showed that the biceps, triceps, subscapular, and suprailiac areas of professional fashion models were significantly thinner than those of women in general (p

It is widely documented that negative body image is a significant public health concern due to its association with symptoms of disordered eating and worse psychological well-being. The purpose of the study was to develop a path model of intrapersonal dimensions (self-efficacy and internal locus of control) as antecedents of perceived stress toward females’ body dissatisfaction and eating attitude disorders. A total of 300 females, including 100 aspiring fashion models, 100 athletes and 100 students (controls), between 15 and 24 years of age (M = 19.6, SD = 1.85) participated in the study. Measures included level of psychological stress, self-efficacy and locus of control dimensions, body dissatisfaction and eating attitude disorder indices. A path analysis confirmed our research hypothesis. Comparing the three subsamples, we found better fit indexes in the two subgroups with elevated investment on their body image with respect the control group. More specifically, the model in the group of aspiring fashion models showed the best fit index. These results indicated that aspiring fashion models have a strong desire to maintain their low body mass or to become thinner. For this reason, a suitable involvement of expert health workers in the nutritional and psychological field could be extremely essential in the fashion world to maintain a healthier well-being.

Este estudo qualitativo objetivou verificar e analisar a estratégia de viver a vida de modelos de moda, tendo em vista o trabalho imaterial que realizam. Participaram da pesquisa exploratória qualitativa bookers e modelos de moda brasileiros que trabalham ou já trabalharam em situação de expatriação. A coleta de dados ocorreu por meio de entrevista semiestruturada. Os resultados dizem respeito aos sonhos e à inserção na profissão, aos incentivos e aos discursos que fomentam a vida anunciada de modelo; à mobilização de si e incorporação de um padrão de modelo de moda; à ditadura da fita métrica; ao book forte como passaporte internacional; aos percursos e percalços na expatriação; e, por fim, à estratégia de viver a vida na expatriação. This qualitative study aimed to verify and analyze the strategy of living the fashion models’ life, considering the immaterial labor that they perform. Brazilian fashion models who worked or have worked in an expatriation situation participated in this study, and bookers. The data collection occurred through semi-structured interview. The results relate to dreams and the insertion in the profession, the incentives and the speeches that foment the fashion model life announced; to the mobilization of self and incorporation of a model of fashion model; to the tape measure dictatorship; to the strong book as an international passport; to the pathways and obstacles in the expatriation and, finally, the strategy of living the fashion model life in the expatriation.

This article presents a review of Ashley Mears' book “Pricing Beauty: The Making of a Fashion Model”. The book is devoted to sociological inquiry into the fashion model business. Modeling is a specific kind of market, where careers depend on judgments about individual appearance. Making aesthetic decisions usually seems intuitive: in distinguishing the “beautiful” from the “unattractive”, people commonly rely on subjective opinions. How is it possible to define the value of how a human looks in market terms? The author considers the fashion model business as an example of how culturally determined beliefs about “femininity”, “masculinity” and “beauty” build up market price and the value of a model’s “look”. Referring to Pierre Bourdieu’s theory of field, power and practice, Mears describes the model market as being structured by a “hierarchy of the taste” which leads to market segmentation on commercial and editorial fashion grounds. Model agency staff and their clients assign model's appearance either to one segment or another, merely by relying on their beliefs about the model’s look, which will embody their vision of the product. The model's success also depends on her “emotional labor” skills, an ability to create her personality. Being delightful for the benefit of an important client under the stress of potential rejection and staying in good relationships with her (or his) model agent becomes the basis for social networking and gathering symbolic capital. This can be formed by working with “high-status” market players. Fashion is a market of status identity, where symbolic capital is explicitly connected to opportunities for successful career building. The following review criticizes some debatable statements and highlights the main aspects of the model business: market architecture, construction of value of “look” and the problems of narrow beauty standards.

No contexto do trabalho imaterial de modelos de moda, objetivou-se apresentar a fotografia como recurso metodológico e analítico central à discussão. Considerou-se a fotografia um valioso elemento visual que tem efeito sobre o espectador que a vê, indo além de um caráter meramente ilustrativo ou representativo. Participaram do estudo, oito modelos de moda, os quais, na entrevista, portaram uma fotografia relativa ao seu trabalho, de sua livre escolha. A eles, foi solicitado que falassem livremente a respeito do seu trabalho e de si perante aquela fotografia. Desse modo, escutouse a respeito do trabalho realizado, da mobilização de si e do que viam de si na imagem. Do ponto de vista teórico-metodológico, a fotografia: i) desencadeou indagações que poderiam permanecer insuspeitadas para as pesquisadoras, caso não tivessem sido consideradas para o estudo em questão; ii) apresentou-se como lugar de memórias e recurso disparador da fala, pelo que ela mostrou e, ao mesmo tempo, não mostrou; iii) possibilitou visibilizar o invisível, ao evidenciar o trabalho imaterial como trabalho de si sobre si, resultando corpos correspondentes a padrões físicos estéticos a serviço da produção de valor. In an immaterial labor context of fashion modelling, the objective of this study was to present photography as a methodological and analytical resource central to discussion. Photography is addressed as a valuable visual element which has effect on the viewer, going beyond a merely illustrative or representative feature. Eight participants have chosen one photograph, related to their work. They were requested to talk freely about their job and about themselves looking at the photograph. They talked about the job done, oneself mobilization and about what they saw of themselves in that image. From the theorical-methodologic point of view, the photograph: i) brought questions that could remain unsuspected to the researchers, had it not been considered in the study; ii) presented itself as a setting of memories and a speech-triggering resource, for what they showed and, at the same time, for what they did not show; iii) enabled to make visible the invisible when evidencing the immaterial labor as oneself labor, resulting in bodies corresponding to an esthetic physical pattern in the service of value production.

Submitted by Noeme Timbo (noeme.timbo@metodista.br) on 2017-01-26T12:02:47Z No. of bitstreams: 1 GideanaSousa.pdf: 2682729 bytes, checksum: 5ec57ecb335f020e008c123896e1f756 (MD5) Made available in DSpace on 2017-01-26T12:02:47Z (GMT). No. of bitstreams: 1 GideanaSousa.pdf: 2682729 bytes, checksum: 5ec57ecb335f020e008c123896e1f756 (MD5) Previous issue date: 2016-09-20 Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq This dissertation presents the results of research on Silas Malafaia - a well-known lecturer between evangelicals and among non- evangelicals in Brazil that uses the TV feature for about 33 years , where it holds programs with different formats over the years ; and an incisive speech relevant influence on many followers . His preaching condemns abortion , drug use and what sees as increasing the privileges of homosexuals , while he took the theology of prosperity. Using the theory of Mimetic Mechanism René Girard , and studying the context in which it was created and who was related from its beginnings , this research studies the evolution and positioning changes Silas Malafaia and the influence of his desire models. We will analyze in particular the transition to a more conservative theology Assembly of God to join the Positive Confession and Prosperity Theology, and the use of media not only toward Christians, but as a trade tool , which once fought . It started from the hypothesis that Silas Malafaia change his speech and preaching in that it takes as models of desire televangelists American pastors , as Morris Cerullo and Mike Murdock , who work in television media and are considered successful pastors. That the analysis , we differentiate two types of desire models - according to the mimetic desire theory of René Girard - in the life of Silas Malafaia : internal mediation models and external mediation. It is hoped that this work can contribute to the reflections on René Girard 's theory and for studies concerning the Assembleiano Pentecostalism and its various possibilities. Esta dissertação de mestrado apresenta os resultados da pesquisa sobre Silas Malafaia – um conferencista conhecido entre evangélicos e entre não-evangélicos no Brasil que se utiliza do recurso televisivo há cerca de 33 anos, onde detém programas com formatos diversificados ao longo dos anos; e um discurso incisivo de relevante influência sobre muitos seguidores. Sua pregação condena o aborto, o uso de drogas e o que enxerga como aumento dos privilégios dos homossexuais, ao mesmo tempo em que assumiu a teologia da prosperidade. Usando da teoria do Mecanismo Mimético de René Girard, e estudando o contexto no qual foi criado e com quem se relacionou desde os seus primórdios, esta pesquisa estuda a evolução e mudanças de posicionamento de Silas Malafaia e a influência dos seus modelos de desejo. Analisaremos em particular a sua transição de uma teologia mais conservadora da Assembleia de Deus para adesão à Confissão Positiva e Teologia da Prosperidade, e a utilização da Mídia não apenas voltada para cristãos, mas como ferramenta de comercio, que antes combatia. Parte-se da hipótese de que Silas Malafaia muda seu discurso e pregação na medida em que assume como modelos de desejo pastores norte-americanos teleevangelistas, como Morris Cerullo e Mike Murdock, que atuam na mídia televisiva e são considerados pastores bem-sucedidos. Nessa na análise, diferenciamos dois tipos de modelos de desejo, -- de acordo com a teoria de desejo mimético de René Girard -- na vida de Silas Malafaia: modelos de mediação interna e os de mediação externa. Espera-se que este trabalho possa contribuir para as reflexões sobre a teoria de René Girard e também para estudos concernentes ao Pentecostalismo Assembleiano e suas diversas possibilidades.

Através de relatos orais de ex-participantes do grupo de criação e desenvolvimento da publicidade da Rhodia Têxtil nos anos 1960, o artigo analisa as diferenças e semelhanças de percepções presentes nas rememorações de homens e mulheres sobre a profissão de modelo e manequim e mais especificamente as “manequins exclusivas Rhodia” no período.Abstract Through oral accounts from former advertising and development group professionals of Rhodia in the 1960’s, the article analyzes differences and similarities in terms of male and female memories on aspects concerning the profession of fashion model, most particularly “Rhodia’s exclusive fashion models”.Key words: Fashion Model. Labor. Memory

A temática da presente dissertação relaciona-se, especialmente, à atual conjuntura do trabalho e suas implicações à vida (BAUMAN, 2007, 2008a, 2008b; DELEUZE, 1998; GAULEJAC, 2007; GORZ, 2005; GUATTARI; ROLNIK, 1996; LAZZARATO; NEGRI, 2001; SENNETT, 2009), à especificidade do trabalho de modelos de moda (LIBARDI, 2004; LIPOVESTKY, 2007, 2009; PEREIRA, 2008; WISSINGER, 2007, 2009), e à expatriação (CERDIN, 2011; FREITAS, 2000, 2001, 2006, 2009; FREITAS; DANTAS, 2011; DAVOINE; RAVASI; CUDRÉ-MAUROUX, 2011; GONZÁLEZ; OLIVEIRA, 2011; REGO; CUNHA, 2009). Este estudo objetivou verificar e analisar como a estratégia existencial consumista se apresenta e se modula na perspectiva de uma estratégia de viver a vida de modelo de moda na expatriação. Para tanto, caracterizou-se como uma pesquisa exploratória qualitativa e contou com a participação de treze modelos de moda brasileiros que trabalham ou já trabalharam em situação de expatriação. Além disso, participaram como informantes-chave dois bookers que trabalham agenciando modelos. A coleta de dados ocorreu por meio de entrevista semiestruturada. Ademais, solicitou-se que cada modelo selecionasse uma fotografia sua que significasse algo de seu trabalho realizado durante a expatriação e falasse sobre ela. A apresentação e análise dos resultados comportaram três partes permeáveis entre si. Elas dizem respeito à inserção na profissão, aos incentivos e aos discursos que fomentam a vida anunciada de modelo de moda; à incorporação de um modelo de modelo de moda através da vida modelada; e, por fim, tendo em vista as categorias anteriores buscou-se o que, de modo articulado, permitisse dizer algo da estratégia de viver a vida de modelo de moda na expatriação. Esta dissertação possibilitou perceber que a expatriação se constitui como uma forma de legitimação na carreira de modelo de moda e mostrou-se como o acontecimento em que o nome próprio é chancelado como uma marca. The theme of this present dissertation relates especially to the current labor conjuncture and its implication to life (BAUMAN, 2007, 2008a, 2008b; DELEUZE, 1998; GORZ, 2005; GUATTARI; ROLNIK, 1996; LAZZARATO; NEGRI, 2001; SENNETT, 2009), to the specificity of fashion models labor (LIBARDI, 2004; LIPOVESTKY, 2007, 2009; PEREIRA, 2008; WISSINGER, 2007, 2009) and to expatriation (CERDIN, 2011; FREITAS, 2000, 2001, 2006, 2009; FREITAS; DANTAS, 2011; DAVOINE; RAVASI; CUDRÉ-MAUROUX, 2011; GONZÁLEZ; OLIVEIRA, 2011; REGO; CUNHA, 2009). The objective of this study was to verify and analyze how the existential consumerist strategy presents itself and how it is modulated in a perspective of living the fashion model live on expatriation. This way, it was characterized as an exploratory quality research and was attended by thirteen Brazilian fashion models who worked or have worked in an expatriation situation. In addition, two bookers that work handling models participated as key informants. The data collection occurred through semi-structured interview. Furthermore, it was requested that each model selected a picture of yours that meant something to the job done during the expatriation and that they talked about it. The presentation and analysis of the results supported three permeable parts among themselves. They discuss about the insertion in the profession, the incentives and speeches that foment the announced fashion models life; to the fashion model incorporation through modeled life; and, finally, considering the previous categories sought what, in an articled way, allowed to say something about the strategy of living the fashion model life on expatriation. This dissertation enabled to realize that expatriation constitutes as a form of legitimation in a fashion model career and as the event in which the own name is set as a trademark.

The primary focus of this thesis is limited to the relationship between sartorial fashion and the fashion model within the world of representation. This includes the forms of fashion display and dissemination that existed prior to the establishment of the modern fashion system—fashion dolls, fashion plates and illustration and the mannequin de monde—as well as the fields where the fashion model as a modern phenomenon came into being—fashion photography and the fashion parade. While the portrait of feminine beauty and ideals in the fashion image betrays the imprint of the representation of the female body in art, pornography and the entertainment industries, this thesis argues for a reading of the fashion image and the fashion model specifically through the prism of fashion which, as a quasi-autonomous system, operates according to its own rules and has its own mode of being. Since its inception, fashion has frustrated its critics and delighted its proponents with a nonchalant rejection of the creations it had hitherto enthroned as essential. This dedication to perpetual change and the ephemeral—the ‘death-wish’ that ensures the continuation of fashion as a structure even as individual fashions are discarded—has fascinated both those who have seriously contemplated fashion and those who document the vicissitudes of fashion’s creations. For its critics, the sin fashion commits in refusing to manifest itself in a permanent form of beauty is compounded by its perceived attacks upon the body, cloaking it in a layer of artifice that distorts it into ‘unnatural’ forms. This imposition by fashion on the body made from flesh and blood is never fully realised. Rather it is only on the body in representation that fashion can begin to escape the limitations imposed upon it by the human form and give full reign to its creative impulse. In the fashion image the fundamental principles of fashion—change and artifice—are metaphorically expressed by the interplay of mortality and immortality on the body of the model which, ultimately, serves as the blank canvas where fashion is free to invent its imaginary self.