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My participatory visual inquiry focuses on a feminist augmented reality (AR) intervention in a patriarchal space, a university town tavern decorated with woman-animal hybrid works of art that embody the male gaze and the objectification/commodification of women's bodies within a culture of normalized gender-based/sexual violence. I introduce how my intervention began with an affective encounter, which stoked my feminist consciousness, leading to a "feminist killjoy" impulse and learning of other tavern goers' interpretations of the art. Additionally, I discuss how my re-invention of the paintings, which involved layering tavern patrons' audio commentary over the images using AR, offers opportunities for feminist intervention by inviting feminist solidarity in a patriarchal space. [ABSTRACT FROM AUTHOR]

Von heute auf morgen and Lulu , the twelve-tone operas of Arnold Schoenberg and Alban Berg, respectively, can be interpreted as works that sought to uphold a traditional formalism of Germanic opera construction amidst the post-Expressionistic aesthetics that the newer Zeitoper style strove to abolish. This new style aimed to popularize opera by embracing a new simplicity of contemporary values that discouraged the perpetuation of prior operatic dispositions. This dichotomy of old vs. new is presented in an analysis of the Von heute and Lulu libretti that traces their symbolic representation of womanhood and marriage from the male gaze, whereby an overlapping depiction emerges in both operas in their similar but varying treatment of these themes as parodies of their composers' time and the ongoing cultural conflict between moralities rooted in the past and non-conforming values that embrace modernized change. [ABSTRACT FROM AUTHOR]

Deliberate and effortful attempts to gaze at the bodies of women is emerging as a valuable marker of sexual objectification in men. Some preliminary evidence suggests that pervasive body gaze behavior may also accompany insidious attitudes which can facilitate sexual assault. The present study aimed to further explore this potential by examining pervasive body gaze associations with explicit, implicit, and physiological sexual assault propensity measures. We presented 110 heterosexual male participants with images of fully and partially dressed women with and without injuries while measuring their skin conductance responses. We also captured implicit and explicit sexual assault measures in addition to self-reported pervasive body gaze behavior. Pervasive body gaze behavior was significantly correlated with rape myth acceptance attitudes, prior perpetration of sexual assault, a stronger implicit association between erotica and aggression, and lower physiological reactivity during exposure to partially dressed injured women. These findings suggest that body gaze towards women could be a behavioral marker for inclinations to victim blame, preferences for rough sexual conduct, and a physiological desensitization towards female victims. This study further validates a five item self-reported body gaze measure as a valuable tool for detecting deviant sexual objectification attitudes and affective states. As such, measurement and observation of body gaze behavior could be useful for developing risk assessments, estimating intervention efficacy, and enhancing public awareness. [ABSTRACT FROM AUTHOR]

African-American women's fiction is so tantalizing that it has haunted the memories of readers ever since its inception. The earlier writers of this variety of fiction have been often labeled as sheer protest writers by some critics, but there are efforts made by researchers consistently to resuscitate the hitherto less known authors from the appropriation of partial canon makers and critics and to show that they are matchless in terms of their literary dexterity and originality. This paper will try to succinctly scrutinize one such writer Ann Petry's debut novel The Street (1946), which interrogates and unmasks the discursive practices of 'capitalism' that pervade America and breed racism, chauvinism, and false class consciousness, and hamper the growth of blacks in general and women in particular. Further, the paper will also try to explore how Petry through the metaphor of the street of Harlem exposes the ubiquitous forces of 'capitalism' that produce white supremacism and racialized patriarchy. [ABSTRACT FROM AUTHOR]

The social transformation of the reform era saw healthy economic development alongside the rise of consumerism and increased levels of corruption and unemployment. The effects of this rapid transformation greatly influenced the growing new generation who were readily exposed to the commodity economy and consumerist ideology. The contemporary private photography (Si Sheying) movement in China is said to have risen under such circumstances, pioneered and further developed by post-1980s and post-1990s individuals who grew up in urban cities with a knack for information technology. Driven by individualism, consumerism and technological modernization, these photographers have created some of the most controversial and sexualized photographs of their era. Yet, little research has been done to suggest a plausible historical provenance contributing to the rise and development of Chinese contemporary private photography, particularly in their depiction of the Chinese female body. This article seeks to draw from Republican-era (1928–36) photographers who have contributed to Shanghai pictorial magazines such as Liangyou, Shanghai Manhua, Shidai Manhua and Ling Long and have explored the different representations of the Chinese female imagery. It will further suggest how historical art movements like surrealism underpinned the ways in which the Chinese female body was discussed and displayed in printed media with considerations of the changing eroticization of the male gaze caught in a different mass consumption era. This article will then reveal the formation of the tripartite symbolism drawn from naturism, surreal humour and Rabindranath Tagore's humane east that is inherent in the above analysis to suggest a surrealistic yet anarchistic transformation in contemporary private photography in China. Finally, it will draw this article to a close with the favourable conditions of the private–public, inner–outer (Nei-Wai) boundary, allowing the Republican-era Chinese females to be empowered to move between the two spheres and where Chinese contemporary private photographers continually use to break down binary divides that continue to hinder in today's conditions. [ABSTRACT FROM AUTHOR]

This article examines John Updike's short story "A&P" from a cinematic perspective, arguing that the story's cinematic influences have been overlooked. The protagonist, Sammy, observes the girls in a voyeuristic manner, similar to a cinema audience, objectifying and categorizing them. The article also discusses Sammy's derogatory attitudes towards other characters and the oppressive conformity in the store's setting. The author analyzes the narrative perspective, characterizations, and gender dynamics, suggesting that the portrayal of women aligns with gender roles depicted in contemporary cinema. The examination of literary classics authored by figures who assume a paternal role is seen as an important scholarly endeavor. [Extracted from the article]

Ain't I a Woman? This question was raised by activist and self-emancipated former slavewoman Sojourner Truth, who validly questioned the body politic of identity when contextualized to perceptions of female personhood. Essentially, what Truth challenged were presumptions about the standards set to revere female bodies through markers of genteel Whiteness, while the worth of embodied Blackness, precisely the beauty of Black women, is reviled. In this article, I seek to raise awareness about factors of patriarchy and societal ramifications. Patriarchy is a systematized phenomenology of norms privileging the male gaze. The White male gaze, particularly in strongholds of power, influences the body politic of communal identity. Black women tend to lean on their faith to embody strength, yet patriarchy also encumbers the gendered body politic in religious spheres. As a womanist scholar, my analysis considers the intricate roles that patriarchy holds in the cultural production of a genteel, pretty woman image, wherein the aura of Whiteness grounds a body politic that deems Blackness as other. Despite the influences of prevailing macrosystems, I propose a theoethic of self-love to push against negatively biased identity boundaries by affirming ways to embrace Black beauty with a subversive imperative to love oneself regardless. [ABSTRACT FROM AUTHOR]

This article explores the connection between Shakespeare and Italian artist Giulio Romano, suggesting that Shakespeare may have been influenced by Romano's work through Vasari's Lives of the Artists. The author argues that Shakespeare's plays exhibit mannerist characteristics, challenging traditional notions of art and reality. The essay also discusses the neoplatonic themes in Shakespeare's works and their connection to the Palazzo Te in Italy, which features paintings that depict neoplatonic ideas. The text further examines the character of Prospero in "The Tempest" and suggests that his role as an artist reflects Romano's mannerist style. Understanding Prospero's character requires considering his pagan, neoplatonic worldview and his dual nature as both a godlike figure and a flawed human. [Extracted from the article]

This paper explores the significance of female representation in Lee Jang-ho’s film adaptation of Choi In-ho’s novel, Byeoldeul-ui gohyang, within the context of 1970s South Korean literature and film. Both the novel and the film gained immense popularity as symbols of emerging youth culture, contributing significantly to the history of Korean popular culture. They played a crucial role in revitalizing the struggling film industry by catalyzing the hostess literature and film boom of the 1970s. However, despite their cultural impact, assessments of the novel and film remain mixed. This study focuses on analyzing the portrayal of the female character, O Gyeong-a, who has been both the source of their popularity and the subject of various criticisms. This paper particularly highlights the innovative elements introduced by director Lee Jang-ho, demonstrating that, contrary to popular and even academic belief that the film objectifies Gyeong-a to the extent of exploitation, it instead effectively problematizes and challenges the prevalent objectification of women in 1970s patriarchal Korean society. Furthermore, this study argues that the film marks a seminal moment in Korean cinema, showcasing the cultural adaptability and vibrancy of Korean visual media. [ABSTRACT FROM AUTHOR]

The 1980s was marked by the emergence of new cinematic forms in Turkey, including films concerning issues related to various forms of women's oppression involving sexual objectification, rape, and subordination. Through a close textual analysis, this article discusses how the 1982 film Iffet attempts to create a rape–revenge story, romanticizing sexual aggression against women through hysterization of the protagonist. This study examines the film's representation of the concepts of patriarchy, honor, virginity, and hegemonic masculinity within Turkey's socio-political atmosphere in the 1980s. Mulvey's feminist film theory and Brownmiller's description of rape myths were used for the analysis. [ABSTRACT FROM AUTHOR]

As a French feminist subversion and contemporary reimagining of Mike Nichols' classic American film, The Graduate, Marion Vernoux's Bright Days Ahead (Les beaux jours) rebukes Hollywood for its general exclusion of leading women aged 40 or over and its Oedipal portrayals of them. Vernoux's film subverts The Graduate by portraying the latter film's adulterous affair between a younger man and an older woman through the woman's eyes. Using Jacques Lacan's mirror stage of development and Laura Mulvey's explanation of how to overturn the male gaze of traditional film, this paper argues that Vernoux conceives a new language of desire for women, or a female gaze, in Bright Days Ahead through the younger lover's positive reflections on the older woman, Caroline (Fanny Ardant) and close-up images of sensuous touch between Caroline and her younger lover. Scenes of touch between Caroline and her lover were filmed in extreme close-up as they mutually caressed one another. The film's overall messages are that some men will always be philanderers, but women do not have to accept them, and women including actresses can be sexual throughout their lives. [ABSTRACT FROM AUTHOR]

Copyright of Revista Estudos Feministas is the property of Revista Estudos Feministas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Research on television representations has identified the discrimination top-level women athletes are subjected to and the ways in which they are discredited. In particular this research has identified the process of gendering competitions (so-called "women's sports"), the infantilization of women athletes, emphasis on "appropriate femininity," stigmatization of transgressive female athletes, sexualization of athletes, and compulsory heterosexuality. More recent research has uncovered a shift in gendered representations of women athletes towards less explicit and more insidious sexism, based primarily on a hierarchy in favor of male over female sport. To assess the situation of representations of high-level women athletes in France and their evolution, the author carried out a socio-semiotic analysis from a perspective opened by gender studies by focusing on a particular media: the television broadcasts of sports competitions. We selected a corpus of TV broadcasts of World Championship and Olympic competitions comprising six sports--gymnastics, tennis, basketball, football, rugby, and boxing from 2005 to 2015--studied diachronically. This article will examine the discourses of commentators and the filmed images (camera movements) that participate in the construction of sports broadcasting. Television representations of women's sports were analyzed at the intersection of gender, class, race, sexuality, and national identity. The research was paired with a list breaking down the journalists' gendered identities to account for inequalities of access to this position and raise the question of the influence of gendered expertise. Based on these analyses, this article will conclude by providing recommendations for the recognition of women's sports such as: deconstructing the male gaze, valuing women's sports performances, and fighting with an intersectional approach to discrimination. [ABSTRACT FROM AUTHOR]

The article discusses the book "Perfect: Feeling Judged on Social Media" and explores the concept of perfection and its impact on young people's lives on social media. It highlights the pressure to conform to societal beauty norms and the culture of surveillance on social media, which can lead to self-doubt and dissatisfaction. The article also discusses the intersection of body positivity and the pursuit of perfection, as well as the role of social media in promoting diversity and authenticity. It concludes by emphasizing the need for further feminist media studies and the potential for social media to foster connections and shape a new reality. [Extracted from the article]

The portrayal of women has long been a concern, especially in cinema, including Indonesian cinema. The modern era of Indonesian cinema began in 1998 and continues to the present day, as the best period for Indonesian cinema. In 1998, only five films were produced, but production gradually increased until its peak in 2016, with 124 titles being produced. This growth has had a positive impact on the image of women in cinema, but it has also presented different values regarding the portrayal of women. This paper examines the portrayal of women characters in Indonesia's popular films, focusing on the top three best selling films. Using the textual analysis method, the study reveals that women are often portrayed in relation to stereotypes entrenched in patriarchal culture. Men still have a strong image as the provider and women are dependent objects. The findings also show that social values are the primary determinants of women's portrayal in film. For instance, in appearance, a good girl is appropriately dressed, will be saved and happy. In contrast, aggressiveness for women will lead them into destruction. The portrayal of women in Indonesian best seller movies cannot be separated from patriarchal and social values, which implies that these films not only reflect but also potentially reinforce and perpetuate existing gender norms and power dynamics within society. This suggests that the representation of women in such media plays a significant role in shaping public perceptions of gender roles, further embedding these values into the cultural fabric and potentially influencing the way women are treated and perceived in real life. [ABSTRACT FROM AUTHOR]

Sex and the City and The L Word were two groundbreaking television shows aimed at female audiences featuring explicit sexual content and queer characters; however, both have received little research attention over the last two decades. This is a serious omission in light of their popularity and their enduring capacity to influence viewers through streaming platforms as well as the successful launch of two revival series, And Just Like That... and The L Word: Generation Q. The purpose of this study was to examine depictions of sexual behaviours in the original runs of Sex and the City and The L Word and compare both with their respective revivals. Sexual behaviours across all episodes of the original runs of both shows and the first season of each revival were coded using a sheet and codebook developed for this study. Results showed that The L Word contained more explicit instances of oral sex and intimate touching, whereas Sex and the City showed more explicit instances of kissing and total explicit behaviours. The original run of Sex and the City contained more total explicit behaviours and more explicit kissing compared to its revival, but The L Word featured fewer instances of explicit penetrative/genital sexual behaviours compared to its revival. The implications of these findings for viewers, clinicians, and sex educators are considered. [ABSTRACT FROM AUTHOR]

Alfred Hitchcock, the master of suspense, is renowned for his unique cinematic style and profound insights into the complexity of human nature. Among the various female characters in his films, the mother figure holds a particularly significant place. This article proposes the concept of "maternal emptiness" to describe the predicament of the mother figures in Hitchcock's films, where they are often depicted as distorted, dark, and somewhat lacking in maternal essence. Drawing on psychoanalytic and feminist film theories, especially the works of Jacques Lacan, Julia Kristeva, and Laura Mulvey, this study aims to deconstruct Hitchcockian "maternal emptiness" and explore its deep-rooted causes. Through a systematic examination of the mother figures in Hitchcock's filmography, this article identifies the following three main categories: the mother roles of blonde women, the mother roles of female protagonists, and the mother roles of male protagonists. Close textual analysis reveals that these mother figures, despite their apparent diversity, share a common plight—a deviation from the maternal essence of love, care, and nourishment. This "maternal emptiness" is further traced back to Hitchcock's childhood traumas, the patriarchal ideology in the cultural context, and the changing status of motherhood in modern society. By engaging critically with existing Hitchcock scholarship, including the works of Tania Modleski, Paul Gordon, and Slavoj Žižek, this study situates the concept of "maternal emptiness" within the broader discussions of motherhood in cinema. It explores how Hitchcock's representation of mothers both reflects and challenges contemporary understandings of maternity. Furthermore, this study examines the enduring influence of Hitchcock's maternal representations on contemporary cinema, analyzing films such as Darren Aronofsky's "Mother!" (2017) and Ari Aster's "Hereditary" (2018) to demonstrate the ongoing relevance of "maternal emptiness" in modern film discourse. The study concludes by considering the legacy of Hitchcock's maternal representations in contemporary cinema, demonstrating the ongoing relevance of the concept of "maternal emptiness" in film analysis and its potential for reimagining maternal subjectivity in cinematic representation. [ABSTRACT FROM AUTHOR]

"Second Fleet Baby" by Nadia Rhook is a historical poetry collection that delves into the lives of English convict women aboard The Lady Juliana, the first all-female convict transport ship of the Second Fleet in 1790. Rhook combines personal archives with historical records to challenge assumptions on colonial privilege and patriarchal entitlement. The poems in the collection experiment with genres and styles, exploring themes of motherhood, colonization, and the interplay between past and present. Through archival traces and an affectively grounded narrative, Rhook provides a unique perspective on the historical narrative of the Second Fleet, making it a valuable resource for researchers interested in women and post-colonial studies. [Extracted from the article]

Cyberfeminism was born in the 1990s against a backdrop of a burgeoning feminism, the emergence of several schools of related thought, and rapid technological advances. The present study explores cyberfeminist art, which empowers women through body, identity, and technology. Lu Yang’s Uterus Man (2013) and Lee Bul’s Cyborg W1-W4 (1998) blur gender boundaries by reconstructing female body parts, employing the body as a medium of artistic expression to counter the male gaze and reshape women’s identities. The film Teknolust (Lynn Hershman Leeson 2002) expands women’s discourse by challenging perceptions of gender identity and highlighting the unjust social treatment of women. Meanwhile, cyberfeminist artists have integrated new technologies into their work. The two examples discussed herein are ORLAN’s The Reincarnation of Sainte-ORLAN (1990–1993), which uses cosmetic surgery technology as a means of creating art, and Lynn Hershman Leeson’s series of photographs entitled The Phantom Limb (1985–1986). The study explores the techniques and contributions of cyberfeminist artworks and affirms the importance of cyberfeminist thought in dissolving gender binaries and empowering women. [ABSTRACT FROM AUTHOR]

The article discusses the female beauty ideal of the small foot in the Swedish press during the second half of the nineteenth century, as an object for the male gaze in fiction, as an actual fashion ideal, and as a prescribed beauty practice for women. It consists of three parts, analysing different subgenres within the press. First, I show how a male notion of the beauty and erotic attractiveness of the small foot was constructed in short stories and serial novels published in the daily and weekly press. Next, I show how this ideal was visually represented for its realization in every-day life in figures in fashion journals. Both genres presented an ideal unattainable for most women. Third, I discuss articles in dailies and weeklies giving advice on how to take care of feet, warning against ambitions to make the foot look small. Taken together, representations of female feet in the Swedish press involved a construction of the foot that also constructed women as perpetually failing in relation to the existing beauty ideal, making it part of a discursive misogynist practice, according to which women was supposed to invest in their appearance, and were derided and ridiculed when they did. [ABSTRACT FROM AUTHOR]

Copyright of EU-topías: A Journal on Interculturality, Communication & European Studies is the property of Universite de Geneve, Global Studies Intitute and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses a book titled "James Bond Will Return: Critical Perspectives on the 007 Film Franchises," edited by Claire Hines, Terence McSweeney, and Stuart Joy. The book examines the history of the James Bond film franchise through 25 chapters, each analyzing a different film in chronological order. The editors argue that the films serve as historical and cultural artifacts, reflecting the social and political concerns of their respective time periods. The book offers fresh insights into various films, including discussions on color usage in "Goldfinger," the reception of "On Her Majesty's Secret Service," and the portrayal of Bond girls in different films. While some chapters may cover familiar ground, the book overall provides a comprehensive and thought-provoking exploration of the Bond franchise. [Extracted from the article]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the concept of subverting the cisgaze in art, focusing on challenging the cishuman gaze's fixation on legibility and purity. The author explores the power dynamics of looking and the implications of inviting viewers into environments that confront them with impurity and vulnerability. By creating visually and sonically opaque environments, the author aims to protect nonhuman collaborators from the cishuman gaze and provide a space for interspecies refuge. The work emphasizes the importance of embracing incompleteness and failure as a form of resistance against the dominant ideologies of wholeness and resolution. [Extracted from the article]

Gender equality measures are now common in the policies of European film industries and can be an important tool for rendering visible gender inequalities. Recent research, however, indicates that top-down institutional gender mainstreaming might mean better conditions for some women in certain aspects, but structural inequalities tend to remain, including lack of an intersectional approach. In this article, these issues are addressed by analysing gender equality policies currently implemented in the Swedish and Spanish film industries. Following Carole Lee Bacchi's argument that the way in which a problem is represented must be analysed backwards, by looking at the solutions suggested, we unpack what inequalities gender equality measures render visible and, in so doing, highlight the aspects that remain invisible. We also discuss how such problem representation plays out for women in the film industries of both countries and consider the counter-practices women deploy to cope with continuing gender inequality in the film industries of Spain and Sweden. Our main argument is that Swedish and Spanish gender equality policies, despite having increased the presence of women film workers, still fail to render visible the structural basis of inequalities cemented by androcentric film governance structures and a male norm around which the film industry has been built. [ABSTRACT FROM AUTHOR]

The article analyses the male body-biased gaze in serial fiction in the Swedish press 1850–1890, by using the concept of the body flâneur as an analogy to the well-known city flâneur. The normative construct of the body flâneur was a discursive practice, normalising the male gaze in media representations in period still poor on visual representations. It gave authors an opportunity to describe, in detail and in an educated manner, female bodies as aesthetic objects. It had a twofold educational function. First, the body flâneur taught readers, both female and male, what the ideal female body looked like and how it could be detailed in words, but also that the woman was a natural object of scrutiny, and a field of expertise. Second, it presented to readers to various conceivable female reactions to being stared at. [ABSTRACT FROM AUTHOR]

The epic Mahabharata has been adapted into varied genres—theatre, dance, movie, fiction, and television serial. This paper shall focus on two televised versions—one directed by B. R. Chopra and the other by Siddharth Tewary. Interestingly, both are simultaneously available and comparable through the research-friendly digital archive of YouTube and Disney+ Hotstar. The scene of “Draupadi’s disrobing” in the “Game of Dice” episode is the climactic scene of the epic that signals the inevitability of the war of Kurukshetra. Using digital apps, and a close examination of the visual medium this paper shall attempt a comparison of the damning and shaming of Draupadi and her subsequent defiance in the face of male arrogance in the “Game of Dice” episode as presented by B. R. Chopra in 1988 and later by Siddharth Tewary in 2013. It shall identify points of similarity and departure to comment on the diverse messaging strategies employed by the respective directors and argue whether they hammer in different messages. If the message is the same, which director is more potent in establishing it? The paper shall also showcase the power and potential of the visual medium in demonstrating the toxicity of the male gaze in action.

Violencia (1962) de Alejandro Obregón es un hito en la historia del arte en Colombia, al ser considerada un símbolo de las violencias sufridas a lo largo del territorio y la historia de Colombia bajo el lenguaje del arte moderno. Aunque la fusión cuerpo-mujer y territorio-montaña se ha analizado como una estrategia formal para resolver el problema simbólico de brindar una imagen no literal de la guerra, aún no se ha problematizado desde los estudios de género. Las body politics, estudios sobre la mirada masculina y el ecofeminismo conforman el aparato teórico que permitirá argumentar cómo el cuadro plantea un proceso simultáneo de territorialización del cuerpo y de feminización del territorio, donde tanto cuerpo-mujer como territorio-naturaleza se representan con características análogas de pasividad.

The article discusses the issue of caste oppression in India and Nepal and its exclusion from the study of rhetorical traditions. The author acknowledges the importance of including marginalized voices in the study but raises concerns about unintentionally echoing colonial and Eurocentric perspectives. The author focuses on the use of rhetoric by Brahmins to maintain their hegemony and criticizes the hierarchical system that discriminates based on caste. The article emphasizes the complexity of caste dynamics and the need for understanding local sensibilities. [Extracted from the article]

This article brings together temporality and gender in the refugee process and examines how refugee determination bodies and courts have interpreted gendered threats, as a specific form of intimate partner violence. A case law review of jurisdictions (that include Australia, Canada, New Zealand, and the UK) is conducted, revealing a flawed temporal phenomenon where decision-makers have focused primarily on the exogenous aspect of threats, namely, whether there is a real chance of a threat being actuated in the future, and have largely failed to assess the endogenous, psychological dimension of the threat, that encompasses past, present, and future aspects of time. The practice of treating threats of violence as a potential future harm rather than an already occurring harm exhibits an obvious privileging of the future over the present that is not rooted in the empirical evidence on intimate partner violence. Further, the predominant focus by decision-makers on isolated future events as harm fails to accommodate the broad temporal dimensions of systemic intimate partner violence, best suited to a predicament-based model of being persecuted. This article explores the temporal shortcomings and gendered interpretations that underpin this erroneous practice in case law, finding that the temporal governance of refugee law is still largely shaped by the male gaze and conceptualisations of masculinity and femininity, which contributes to the limited recognition of threats as a form of harm in themselves. [ABSTRACT FROM AUTHOR]

The essay "Behind the Fence" by Sabine Casparie discusses the overlooked talent and success of French Impressionist artist Berthe Morisot. The author reflects on her own experiences with motherhood and the choices her mother made, drawing connections to Morisot's paintings. The essay also explores the author's personal journey and regrets regarding her career choices, discussing societal expectations on women's roles. The text concludes with the author finding solace in embracing her love for art and rewriting her own story. The essay sheds light on the struggles faced by Morisot and women artists in a male-dominated field. [Extracted from the article]

'Mother, Daughter, Doll' and 'Colourful Sitārah' are two photographic collections by Boushra Almutawakel (b. 1969). These collections aim to visualize the conservative grip on Yemeni women from the 1960s up to the present day. This article discusses the progression of the blackness of female covering caused by social, political and cultural developments that are special to the Yemeni context. Almutawakel's photographs celebrate the sitārah, the traditional colourful Yemeni cape, which was altered into a black, shapeless garment through the ideological invasion of Wahhabism in Yemen, which has led to increased isolation and invisibility for women there. [ABSTRACT FROM AUTHOR]

Copyright of Fe Journal: Feminist Critique / Fe Dergi: Feminist Elestiri is the property of Ankara University, Women's Studies Center (KASAUM) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Social cues, such as eye gaze and pointing fingers, can increase the prioritisation of specific locations for cognitive processing. A previous study using a manual reaching task showed that, although both gaze and pointing cues altered target prioritisation (reaction times [RTs]), only pointing cues affected action execution (trajectory deviations). These differential effects of gaze and pointing cues on action execution could be because the gaze cue was conveyed through a disembodied head; hence, the model lacked the potential for a body part (i.e., hands) to interact with the target. In the present study, the image of a male gaze model, whose gaze direction coincided with two potential target locations, was centrally presented. The model either had his arms and hands extended underneath the potential target locations, indicating the potential to act on the targets (Experiment 1), or had his arms crossed in front of his chest, indicating the absence of potential to act (Experiment 2). Participants reached to a target that followed a nonpredictive gaze cue at one of three stimulus onset asynchronies. RTs and reach trajectories of the movements to cued and uncued targets were analysed. RTs showed a facilitation effect for both experiments, whereas trajectory analysis revealed facilitatory and inhibitory effects, but only in Experiment 1 when the model could potentially act on the targets. The results of this study suggested that when the gaze model had the potential to interact with the cued target location, the model's gaze affected not only target prioritisation but also movement execution. [ABSTRACT FROM AUTHOR]