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Artemisia Gentileschi, 1593 yılında Roma’da dünyaya gelmiştir. Ressam olan babası Orazio Gentileschi’den resim dersleri alan sanatçı, Caravaggio’nun izinden giden (Caravaggist) ressamların en başarılısı olarak kabul edilmektedir. Artemisia Gentileschi yaklaşık kırk yıllık sanat yaşantısında kutsal metinlerden tarihi söylencelere, mitolojiden portre çalışmalarına kadar çok sayıda esere imza atmıştır. Eserlerinde seçtiği konularda, dinler tarihi, tarih ve mitolojik anlatılar ağırlıktadır. Artemisia’nın sanatı erken, olgunluk ve geç dönem olmak üzere üç evrede incelenebilir. Sanatçının erken döneminde ele aldığı kadın figürleri incelendiğinde, Artemisia bu figürlerde tıpkı çağdaşlarının eserlerinde görülen ruh hallerine yer vermiştir. Dönem ressamlarının tablolarında, kolektif bilinci yansıtır şekilde çaresizlik içerisinde, korkan, çekinen ve kararsızlık duygusuyla ifade bulan kadın figürleri, Artemisia’nın da erken dönem tablolarına yansımıştır. Sanatçının 1630’larda başlayan olgunluk döneminde ise eserlerindeki kadın figürleri, yaptığı işten emin, son derece kararlı ve cesaretleriyle ön plana çıkan karakterlere dönüşmüştür. Bu açıdan özellikle Kitab-ı Mukaddes, apokrif metinler ve tarihi anlatılarda bahsi geçen kadın figürleri sanatçının eserlerinde sıkça yer bulmuştur. Bu figürler kimi zaman ulusunu kölelikten kurtaran, kimi zaman masumiyetiyle ön plana çıkan kimi zaman da yaşadığı trajedi sonucunda bir devrime yol açan kahramanlardan oluşmaktadır. Çalışma, tarafımızdan daha önce değerlendirmesi yapılmamış olan on eseri, Gentileschi tablolarında kadın figürlerinin geçirmiş olduğu değişimle ele almaktadır. Sanatçının ilk dönem eserlerinde çağının diğer sanatçılarıyla benzer betimlemelere giderken olgunluk dönemiyle birlikte bu ortak bilinçten uzaklaşmasının sanatına nasıl yansıdığı incelenmiştir. Bu açıdan söz konusu bu on eser merkezinde sanatçının diğer eserleri de değişimin aktarılabilmesi açısından çalışmaya dâhil edilmiştir.

The article is devoted to the introduction to the scientific circulation of the literary work of L. V. Garelina (1822–1885), an original representative of provincial women’s literature, a manufactory adviser, and an influential figure in the cultural life of Ivanovo-Voznesensk. Garelina’s legacy is diverse and includes lyrics, drama, works for children, and translations: the writer tries herself in different generic and genre formats. The study of Garelina’s creative biography is of particular interest also because, in the urban culture of the 19th century, she was a rare example of a writer from the merchant class. This article examines the dramatic layer of Garelina’s legacy, namely three well-known plays with their variants. These works demonstrate connections and intersections with the works of Griboyedov, Pushkin, Turgenev, Ostrovsky, Potekhin, and others. The article analyses specifics of the influence of “big” literature on a writer who is receptive and attentive to current trends: as a starting point and imitations/ variations, she selects not only significant social and psychological problems raised by contemporaries but also genre innovations (stage plays, for example) and stylistic moments (detailing, household and ethnographic concretization, the development of folk speech, etc.).

Copyright of Journal of Literature & Humanities / Edebiyat ve Beşeri Bilimler Dergisi is the property of Ataturk University Coordinatorship of Scientific Journals 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.)

Copyright of Journal of Hubei Open Vocational College is the property of Journal of Hubei Open Vocational College Editorial Office 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 aim of this paper is to explore how the magazine Elegancias (1911-1914), published in Paris under the literary direction of Rubén Darío, addressed the practice of coastal vacationing and disseminated seasonal imaginaries at the turn of the century. Focusing on two special issues dedicated to summer vacations, the research highlights the magazine's engagement with the trends and concerns of the time, such as literature, art, fashion, and travel during the summer season. Through this analysis, it is demonstrated that Elegancias sought to insert itself into the discursive representation of the summer season by the sea during the early decades of the 20th century, thus shaping the perceptions of its readers. Ultimately, this research sheds light on the cultural and historical importance of Elegancias as a transatlantic communication medium with roots in the French capital but with its own identity in the Spanish-speaking world. [ABSTRACT FROM AUTHOR]

As a shining pearl in Chinese traditional culture, Mulan is deeply rooted in the people’s hearts with its unique female hero image. This work not only depicts the legendary experience of Hua Mulan's heroic fighting in the army instead of her father, but also cleverly integrates the family’s core elements and the ones of honor, loyalty and so on under the background of Eastern culture, so that the story has profound cultural heritage. First of all, the Oriental cultural complex is clearly reflected in Mulan. The scenes, costumes, etiquette and other details in the film all reflect the ancient Cinha’s unique charm, presenting the audience with an art world full of Oriental aesthetics. In addition, through Mulan’s character, the film shows the family’s high value and the one of honor and loyalty in Eastern culture. Secondly, Mulan’s role fully embodies female values in the film. He not only bravely joined the army for his father, but also made repeated achievements on the battlefield, breaking the shackles of gender stereotypes. This subversion of traditional gender roles highlights the women’s important status and value in society, and plays a role in promoting the awakening of female consciousness in Eastern culture. Finally, it analyzes Mulan’s influence on female consciousness and finds that it plays a vital role in shaping and inheriting female consciousness in Oriental culture. Mulan's heroic image inspires women’s future generations to face difficulties bravely and pursue self-worth. At the same time, Mulan's actions beyond the restrictions of traditional social roles also provide a model for women to realize individual independence and autonomy.

Feminist ideology, especially regarding the image of women in literary works, can open up society's views more broadly and comprehensively regarding various gender issues. The aim of this research is to describe the image of the main female character in the Jambi folk tale Legend of the Putri Cermin Cina. The research was conducted using a descriptive qualitative method. Research data in the form of sentence quotations was obtained through reading and note-taking techniques. Next, the data was analyzed using interactive techniques. The results of this research show that the main female character in the Legend of the Chinese Mirror Princess is depicted as a social woman who has high complexity. Judging from her physical image, the main female character is depicted as a beautiful woman, smiling, polite in speaking, and graceful. Judging from the psychological aspect, the main female character is depicted as someone who is soft-hearted and always happy. In her role in the family, the female character is described as careful, agile, diligent, skilled, and devoted to her parents. As for their role in community life, female characters are described as having a high social spirit, being very loved by the community, and having noble character.

The article examines in detail the artistic image of Kazakh women in Abai's poetry. In the image of Kazakh women born from Abai's pen, their holistic world is revealed, starting from the external portrait, norms of behavior, clothing and behavior, ending with psychological, emotional mood and inner spiritual soul. The article also emphasizes that the process of transforming the traditional female image into a deep, complex, mysterious image of a mother, a loving spouse, a friend, a beautiful girl, a homeland, a muse of love is differentiated through specific texts. And this was, first of all, the need and desire of the author to present national peculiarities to the reader in its original form, to immerse him in the atmosphere of originality and uniqueness. [ABSTRACT FROM AUTHOR]

A Literary works and social realities that occur in the social environment of society are inseparably linked. The conflicts raised can be in the form of problems experienced in everyday life. One of the conflicts that often occurs and is discussed in a literary work is about feminism. This research aims to find the image of women in Siti Raham contained in the novel Buya Hamka by A. Faudi. The figure of Siti Raham who is the wife of Buya Hamka is the subject of discussion in this study. The research method used is a qualitative method that is descriptive of the observed object. The data source used in this research is the novel Buya Hamka by A. Faudi. The feminist approach is used to analyze the image of female characters based on the physical, psychological, and social aspects of the story. The results of this research show that from various categories, it can be concluded that Siti Raham is a great woman and is successful as a child, wife, mother and in the social environment of society. She was able to raise 10 children, even when her husband was away from them.

Copyright of Afyon Kocatepe University Journal of Social Sciences / Afyon Kocatepe Üniversitesi Sosyal Bilimler Dergisi is the property of Afyon Kocatepe University (AKU) Sosyal Bilimler Enstitusu 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.)

This research aims to understand the image of noble women contained in the novel “Panggil Aku Kartini Saja” by Pramoedya Ananta Toer using Roland Barthes' Symbolic study. This research uses a descriptive qualitative method. The data collection techniques used are description method and literature research. The data analysis technique used in this research is descriptive-analytic. The result of the research that has been carried out is that there are 60 lexia found in the novel “Panggil Aku Kartini Saja” by Pramoedya Ananta Noer, which are spread into three kinds of Roland Barthes symbolic studies in the form of 45 lexia antithetical, 12 lexia 'kemenduan', and 3 lexia opposition of two elements. The whole lexia illustrates that Kartini is a noblewoman who has an image: upholding the religion she adheres to, loving her father, and fighting for the interests of the people by writing and establishing special schools for women, a product of the shift in eastern and western culture, likes to read, and so on.

In the 2010s, feminism thrived in China amid a transformation in social stratification and a rise in women's social status. The focus of this study is on the representation of the images of women of various social strata in national news reports. Taking Xinwen Lianbo, a national news program produced by China Central Television, as an example, we analyzed visual representations of 360 female figures from 2011 to 2020. The findings revealed that, rather than reflecting China's Tǔ -shaped stratification structure, the program depicted an "olive-shaped" pseudo-society in which women of what we term the "middle" stratum constituted the largest portion and served as multifaceted role models, women of the "prominent" stratum served as bellwethers of socioeconomic development, and women of the "ordinary" stratum did not participate in social development. The program's imagery also created a double standard for domestic duties: Women of the prominent stratum were depicted as disembedded from the social role of housewife and breaking through the career "glass ceiling," though not achieving equality with men in terms of their positions in society or politics, while women of the ordinary stratum as bearing the ideological reshuffle of conservative gender values. This study suggests a fresh perspective on the great disparities in the representation of women in different strata, which differs from the status of gender and stratum in real society. [ABSTRACT FROM AUTHOR]

This study aims to describe the comparison of the image of women in the novel Wa Nasitu Anni Imro'ah by Ihsan Abdul Quddus and the Novel Kartini by Abidah El Khaileqy (Comparative Literature Study). This type of research was qualitative with descriptive method. Qualitative research is research that intends to understand the phenomenon of what is experienced by research subjects such as actors, perceptions, motivations, and actions holistically and by way of description in the form of words and language, in a special natural context. The results of this study present some of the data obtained as research evidence, namely, the female image of the novel Wa Nasitu Anni Imro'ah by Ihsan Abdul Quddus and the Novel Kartini by Abidah El Khaileqy contained in this novel, namely: 1) personal image of women 2) image of women in the family, and 3) the image of women in society. The two novels show that women are capable and can become a highly educated person, have a career and get the same rights as men, without having to be limited by customary rules.

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi 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 Franco-Prussian War of 1870-1871 altered the traditional French view about German society. The French, demoralized by their quick defeat, were forced to re-evaluate their view of the German people. During the several decades before the Great War, each of the two countries had cultivated certain views and stereotypes about the national character of its opponent, creating a kind of «enemy» image in their own society. Projecting negative traits onto another people was also an essential step in the consolidation of national identity. Views of Germany were created and reinforced at many different cultural levels in France. Hostile mythologies combined with increasing international tensions, which contributed to a consequent further proliferation of hateful images. As the title implies the article describes the attempt to study the constructed stereotypes about Germany in France during the period from 1870-1914, using the image of a German woman as an example. A number of visual and written sources in which this image was embodied are analysed. The study of the image of the German woman, which was formed in the French society, will help to shed light on the peculiarities of mutual perception of the peoples in the pre-war years.

The current paper examines the Native American people's identity, especially the main female character's cultural identity in the short story entitled The Search Engine. Sherman Alexie, the author of the story, is a Native American writer who harnesses the Indian identity as one of the main topics. The identity presented in the main character, Corliss, shows the challenges of the stereotypes of Native American girls. For that reason, the paper aims at exploring the new Indian woman’s cultural identity represented in the main character, Corliss, in the short story The Search Engine. The study applies feminist literary criticism that enables the writers to deeply explore the issue of woman's identity among the American native people. The main character, Corliss, shows the new female image identity, in which she can challenge traditional stereotypes of Native American women. Corliss is represented as a highly literate woman, with a lot of reading on English literary works, and has concern on her Indian-ness, which is often incommensurable to her big family’s views. The main character shows the new female image of an Indian girl evidenced in her excellent literacy and attitude toward Indian and White people. She has new consciousness in seeing the Indian men and women and their relation to White people.

The earliest recorded modern calendar poster appeared in the 15th year of the Guangxu period of the Qing Dynasty. As is specifically written in Collection Selection edited by Shanghai Library, up to now, this is the earliest modern calendar poster that can be found and it was printed by Shenpao Building. The calendar posters experienced the process of the weakening of folklore and the strengthening of commerciality, and the function of advertising commodity information and advertising posters is increasingly prominent. From the beginning of the Republic of China to the 1940s, the most popular figures on the calendar posters were innocent female students and modern girls who greatly showed the new style of the times and modern citizens aesthetic style. On the basis of feminine subject type, the paper combs out the characteristics, evolution and background factors of female images in terms of clothing, hairstyle and commodity symbols, which is aimed to reveal the consumerism essence of Shanghai calendar posters and consider the enlightenment for today's commercial advertising design from aspects of fashion culture communication, female images, commodity symbols and layout, etc. This article applies the design sociology analyzes from the design phenomenon to the three elements of human nature and society and adopts the method of subject types including data statistics, comparison and qualitative analysis, conducting an in-depth, systematic research on the evolution of the female image and its background causes. Two significant conclusions are drawn: The increasing female figures in the calendar posters who were dressed in clothing convenient for movements and easy to show their body in the Republic of China era, and a growing amount of female figures with neat short hair and fashionable perm, as well as the increasing format integrating commodity information and female images all expressed their commercial function in promoting products company image urban upstart life taste and stimulating the consumption desire. Thus, merchants employed fashionable beauties of all times to endorse products, attract audiences, and put up the advertisement all over the coastal cities and surrounding market towns, so as to enhance the effectiveness of commodity publicity and provide audiences with an imagination of modern life. On the other hand, the audience captured the popular information of the times from the consumerism field composed of commodities and beauties, realizing the imagination of modern life in their minds and achieving the transformation of consumption from objects to images. The essence of consumerism contained in the calendar posters with beauties outlined the aesthetic picture of the modern Chinese society about modernity imagination, which determined that what it presented was not a comprehensive and real scene of urban life but a real illusion in the floating world. ii The creative approach which was aimed at giving play to the commercial value and satisfying the secular aesthetic also laid hidden dangers for the later development of the calendar posters in the Republic of China. From the late 1930s to the 1940s, the frequent appearance of kitsch and pornography directly led to the gradual loss of healthy spirits and eventual decline of the calendar posters with beauties. The rise and fall of calendar posters with beauties in the Republic of China has provided certain enlightenment for today's commercial advertisement design: How to formulate appropriate subjects and character images according to the characteristics of the commodity to stimulate consumption and spread a healthy aesthetic how to coordinate the composition relationship between product information and figures in the poster, so as to create the field of fashion consumption and outline the beautiful life vision for the audience at the same time. All of these questions should be further explored in today's design world. The paper conducts a sample selection and subject classification of calendar posters with beauties from the beginning of the Republic of China to the 1940s, and the characteristics and changes of female images are analyzed by means of data column and comparison. From the perspective of commercial symbol layout design this paper explores the characteristics of female image and the commercial art design strategy behind the changes and reveals the consumerism essence in the calendar posters in the Republic of China. The study of the evolution of the female images in the Chinese calendar posters and their rise and decline can further inspire the current commercial advertising design field to balance relations between stimulating consumption and spread healthy aesthetic and between creating the field of fashion consumption and outlining the vision of a better life. [ABSTRACT FROM AUTHOR]

Purpose of the article. The purpose of the research is to reveal the artistic and psychological patterns that are inherent in female portrayals in visual communications nowadays, to compare the differences between visual feminine images in peacetime and wartime. Research methodology. Among the scientific methods of research, the following methods were used in this work: the methods of empirical research, namely analysis and synthesis, the historical method and the method of structural-semiotic analysis. Scientific novelty. The scientific novelty of this article lies in the identification of typological features of the feminine image in modern Ukrainian graphic design, the identification of visual trends in the representation of various images of women during the period of active military conflict. Conclusions. Feminine portrayal in various examples of visual communications can differ significantly, in recent years it is characterized by the presence of deviations from the idealized image, which corresponds to the minimization of the stereotypical female gender role. In today’s manifestations of communicative design, a woman gains the freedom to make her own choices, what life guidelines to follow, how to look and how to reveal her feminine beginning. On the examples of Ukrainian realities, in contrast to the socio-cultural variability of female images in peacetime, archetypal female images are revealed in the information field of the visual mode during the period of military operations. For modern Ukrainian graphic design of the war period, the symbiosis of national-ethnic identifiers as additional attributes to feminine figures is innovative, that is harmoniously combined with the postmodern international style of graphic performance. However, as shown by the socio-cultural trends in countries where there was a military conflict, gender equality may be violated in the post-war period, so there is a risk of a return to gender stereotypes, which may also manifest in the field of visual communications.

The position and prominence of women in any society is associated to the attitude of the time and individuals towards women. The place of women in Iranian society has always has been controversial. In the meantime, the works of poets can be a mirror for understanding the situation of women. By considering the fact that the worldview of every poet, writer, or thinker is influenced by the intellectual, social, and cultural memory of the time and place in which the person exists; Sanai and Rumi are prominent Iranian poets whose works reflect the political, social and cultural conditions of their life. The issue raised in this study is the transformation of the position of women in society during the time of the mentioned poets. This research is accomplished by a descriptive and analytical method and relies on library data. Findings show that from the Sanai to Rumi periods, a unique social and cultural change took place that led to the enhancement of the status of women and this has been effective in the depiction of women's personalities. Sanai has a mainly negative and critical view of women and rarely cares about her position as a mother and in the service of her religious attitude towards women; nonetheless, Rumi considers woman as a manifestation of divine beauty; furthermore, in Rumi's poetry, woman is the soul, earth, and essence, and she complements creation and this distinguishes the manner in which the female figure is depicted in the poetry of Sanai. Research aims: 1. Corresponding the image of a woman in the poems of Sanai and Rumi. 2. Analysis of effective factors in drawing the image of women in the period of Sanai and Rumi. Research questions: 1. What are the differences between the female image in the poems of Sanai and Rumi? 2. What factors were involved in drawing the image of women in the period of Sanai and Rumi?

The article analyzes various aspects of women's religiosity in Instagram. The role of women in public life, self-expression on the social continent, the problem of realizing opportunities and abilities, religious views and attitudes to sacred phenomena have long been the subject of research in the humanities and social sciences. In recent years, social studies have repeatedly confirmed the thesis about the active religiosity of women and explained it by the special psychoemotional and physiological state of the weaker half. We are also interested in the fact that women's religiosity is gaining momentum in social networks today. The process of changing religiosity is particularly evident in the discrepancy between the institutional forms of religion and the real religious life of people. At the same time, religious organizations and believers have two options: to abandon innovations and modern technologies, such as radical ones, or to modernize religious practices. The study showed that women in Kazakhstan chose the second option, successfully using social media to demonstrate some examples of female religiosity. Further research will cover manifestations of female religiosity in other social networks (Facebook, Twitter, Tiktok, Vkontakte, LinkedIn, etc.). [ABSTRACT FROM AUTHOR]

This paper focuses on the differences and similarities between the images of women in Chinese and Japanese advertisements, analyzes the psychosocial reasons behind the images, and proposes suggestions and outlooks through content analysis and qualitative case studies, using the influential video advertisements of clothing, home appliance, medical beauty care, and vehicles in both countries in the past ten years as research samples. The study found that women in advertisements in both countries are objectified in appearance and rigidified in professional image. The phenomenon of reducing aesthetic bias in Japanese ads came earlier than that in China. However, professional women in China get more respect than those in Japan. With the rapid development of China’s economic society and the increasing status of female subjects, feminist advertisements have grown and tended to be polarized at the same time. Women’s independent personalities should be respected in advertisements. The media should guide the public to get rid of stereotypical perceptions of women, shape a pluralistic image of women, and build a harmonious society.

The philosophy of the image of a woman, her behaviour and functions in society have changed over time. The processes of transformation of the philosophy of the female image can be observed in fiction, which is a means of comprehending the life of previous generations. Therefore, female images help to know better the national character, national spirit, even the national idea of the philosophy of each nation. The study?s main goal is to reveal the philosophy of the female image in the context of the social circumstances of fiction. For a better understanding of the evolution and development of the philosophy of the female image in world literature, we have formed a morphological analysis of the image of a woman in fiction and a matrix of structural elements of the image of a woman in fiction in the context of different timeframes. [ABSTRACT FROM AUTHOR]

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.)

Mythological narratives include nature, life, death, philosophy, art, politics, law, etc. in prehistoric times. It is known that it has functions that shape the elements and reflect the thinking system of the society. These features of myths brought Japanese mythology to the forefront during the emergence of Japanese society and the construction of Japanese identity. In Japanese society from prehistoric times to the modern period, women mostly took a secondary place in social life. In ancient Japanese societies (with the influence of Shintoism), although the position of women in society has strengthened, it has started to decline again with the influence of foreign resources on the religion and thought system of Japanese society. In the Edo period, the position of women in social life turned into an image of a woman "obeying her husband and loyal to her home" in a male-dominated social structure. The secondary position of women was tried to be improved within the scope of Westernization and modernization activities carried out during the Meiji period. However, the mythological narratives that constitute the thinking system of the Japanese people underlie the inability to increase the status of women in social life within this modernization idea. The image of men and women reflected in the narratives of creation and other events in myths has been the source of the discussion of the roles of "femininity" and "masculinity" in the social memory. In this study, the myths that shaped Japanese mythology were examined, and the feminine characters here were tried to be depicted and how the female image was reflected in Japanese mythology. [ABSTRACT FROM AUTHOR]

Disney animation can be said to be part of American culture and art. With the changes in American society and culture, we can see the changes in the personality and social status of female characters in Disney animation. Especially in the Disney animation works published after 2000, many works showing equality in the social abilities and status of women and men have been published. In this study, the characteristics of female characters of the 20th century and the 21st century is compared and analyzed the characters of Elsa and Anna, who expressed the female image in a metaphorical way of 'Frozen 2'. And studied the characteristics and meanings of clothing and colorful shapes. This paper reveals the design elements needed to construct a gender-equality image of female characters, and hopes that it will become a useful research material for the animation industry and academia in the future. [ABSTRACT FROM AUTHOR]

This article aims at picturing the image of women as portrayed in Romanian advertising during the 1930s. Torn between forward-looking associations fighting for equal rights and traditionalist tendencies confining the woman to the household, the female image, as captured by adverts, underwent spectacular changes, as a reflection of the mentalities and implications generated by the historical and social background.

The article deals with the image of the so-called femme fatale in Kazakh choreographic art in the case study of two ballets by Mukaram Avakhri: "Carmen" and "Salome". The author analyzes the artist's interpretation of the images of the two title characters as canonical cultural texts in the discourse on the history of female representation. At present, the choreographic theory is at the junction of feminist thought and choreographic interdisciplinary practice that strives to view the dancing female body through alternative means of cognition. The stereotype of femininity in dominant conceptions of the Western culture can be deconstructed through the new experience of female authors that influences the performer and the viewer in a new way. The directing and plastique-based approaches that help the young female Kazakh choreographer to achieve this are of interest to the authors. [ABSTRACT FROM AUTHOR]

Copyright of Building the way - Revista do Curso de Letras da UEG/Itapuranga is the property of Universidade Estadual de Goias 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.)

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.)

William Faulkner, once won the Nobel Prize in 1950 presentation speech, is considered as one of the grandest Southern American novelists, because he is seemingly the "unrivaled master of all living British and American novelists". A Rose for Emily is one of Faulkner's most excellent short novels. Besides, the narrative of spaces in this novel is changeable and subtle, and the research on it has always been both difficult and hot. This paper attempts to interpret A Rose for Emily from a narrative style, to explore how Faulkner constructed the narrative of the novel, and then to analyze the characters of Emily in the novel. [ABSTRACT FROM AUTHOR]

One of the most important sectors of each culture is folklore, which consists of different dimensions. The present study, focused on the culture and literature of the Baloch people, aims to recognize in what dimensions the Baloch women have been embodied in the Baloch epics; secondly, what position they have in the society and their family? Therefore, the main objective of this study is to identify and interpret the mechanism that in Baloch epics provides for a specific situation and status in relation to the Baloch women. To this aim, the qualitative and documentary methods of analysis were employed; in order to better interpret the obtained data, some feminist theories such as radical feminism, social feminism, and liberal feminism were used critically to find out whether the issues that are extracted from the data could be discussed through these frameworks. The results show that the images obtained imply some dimensions such as: adversative of peace and lasting relations between the powerful chiefs; power and wealth; intelligence; bravery, and militancy; a shelter against danger; and the adversative of the family relations by doing wrong judgments. In general, it was found that women who are mentioned in the Baloch epics have an equal value and status compared with men. [ABSTRACT FROM AUTHOR]

This paper studies the coverage of WAGs (wives and girlfriends of sportsmen) in online sports-media by analyzing 418 articles published in four major online sports' newspapers in Spain: Marca, As, Mundo deportivo, and Sport. A content analysis was used to create a card of analysis with ten fields. Thus, the paper analyzes the evolution of this phenomenon between 2000 and 2015; the sections, sport, type, and extension of such news; authorship, headlines, main theme, and information linked to negative facts about them; and the role played by women. Results show a significant increase in news coverage about WAGs in all newspapers. The coverage is mainly short news stories with abundant images; located in entertainment sections; associated with beauty, motherhood, male dependence, and subordination. [ABSTRACT FROM AUTHOR]