[pt] Precursora na formação de manequins e candidatas a miss no Brasil, a Socila ficou conhecida por ser uma escola de etiqueta para mulheres, sinônimo de elegância no Brasil dos anos 1950 e 1960. Fazer Socila significava aprender sobre embelezamento, vestuário e educação do corpo, configurando um aperfeiçoamento social. A despeito do seu auge ter sido nos anos 1960, a Socila continua sendo mencionada na imprensa, sem nunca ter sido objeto de estudo. Nesta pesquisa se pretende contar a história da escola e de sua fundadora, Maria Augusta, que ensinou etiqueta para a família Kubitschek, circulou na alta roda mundial e inspirou personagem em série de TV, buscando compreender as narrativas de feminilidade e socialização ensinadas às mulheres dos anos 1950 e 1960, tomando a escola como partícipe da construção de um imaginário normatizador de feminilidade, de um habitus (BOURDIEU, 1983). A hipótese é que entre opressão e emancipação, Maria Augusta teria sido uma mediadora para mulheres, a partir de um capital feminino que lhes possibilitava participar da vida social, fora dos recônditos do lar. Com o tempo, entretanto, o aperfeiçoamento social se desloca do aprendizado da etiqueta para um aperfeiçoamento corporal, mediante intervenções estéticas no corpo. As narrativas na imprensa sobre a Socila, sobretudo nas revistas Manchete e O Cruzeiro e no jornal O Globo, ajudam a recontar a história, além do conteúdo de quatro apostilas com os ensinamentos ministrados por Maria Augusta, cotejado a entrevistas. / [en] A precursor in training models and miss candidates in Brazil, Socila became known for being a school of etiquete for women, synonymous of elegance in the 1950s and 1960s. Doing Socila meant learning about beauty, clothing and body education, becaming a social improvement. Despite its heyday being in the 1960s, Socila continues to be mentioned in the press, without ever having been an object of study. In this research, we intend to tell the story of the school and its founder, Maria Augusta, who taught etiquete to the president Kubitschek s family and inspired a character in a TV series, seeking to understand the narratives of feminity and socialization taught to women, taking the school as a participant in the construction of a normative imaginary of feminity, of a habitus (BOURDIEU, 1983). The hypothesis is that between oppression and emancipation, Maria Augusta would have been a mediator for women, based on a female capital that allowed them to participate in social life, outside the confines of home. However, social improvement shifts from learning etiquette to body improvement, through aesthetic interventions in the body. The narratives in the press about Socila help to tell the story, in addition to the content of four handouts with the teachings given by Maria Augusta and interviews.

This study aims to research the implications of Afro-Swedish women's relationship with their hair and how it pertains to their view of femininity and beauty. Four one-on-one semi-structured interviews with Afro-Swedish women were conducted to collect relevant material. During these interviews, the women shared their relationship with their hair, experiences relating to their hair in Sweden, and how and if it has affected their perception of their beauty and level of femininity. The findings of this study demonstrate that Afro-Swedish women relate femininity to hair that is associated with whiteness, which means hair that is smoother and straighter but also longer than the afro-textured hair associated with black people. The results showed how representations of black women in relation to beauty and femininity were seen as limited by the informants, as those were rarely there to begin with and/or only inclusive of lighter-skinned black women with wigs, weaves, straightened or relaxed hair. All the informants shared experiences of their hair being touched, with or without consent. Through comparison to earlier research, it was found that the experiences and opinions of these Afro-Swedishwomen were more similar than different to black women from the USA for example. To conclude, this study disproves the notion of Swedish exceptionalism in relation to the racialization and discrimination of afro-textured hair, as well as the not so colorblind representations of beauty and femininity. These results also show that there is a vast amount of information concerning the lived experiences of Afro-Swedish women, relating to hair and other themes, to be uncovered by researchers in gender studies.

This doctoral dissertation investigates the impact of incidental aesthetics on consumer perceptions. The author refers to incidental aesthetics in two dimensions. One is in the aesthetic properties of product context that is not directly related to its functional performance. And second is in the aesthetic attributes found in unexpected sources defined as ordinary objects, places, and people. Drawing on theories from aesthetics, psychology, and consumer behavior, this dissertation examines in two manuscripts how and why incidental aesthetics influence consumer evaluations. The first paper, 'Welded Together: How Responses to Incidental, Nondiagnostic Sensory Context (Mis)Guide Simultaneous Product Evaluations,' studies how evaluations of incidental aesthetics from a sensory experience with nondiagnostic product contextual cues are merged with the evaluations of the target product. The second paper, 'Consumer Attentiveness to Beauty in the Ordinary,' examines an understudied dimension of beauty. The construct of attentiveness to beauty in the ordinary is defined as the degree to which individuals mindfully identify and formulate an aesthetic judgment of common visual elements and integrate this mindset into their daily experiences. The authors develop a four-item Attentiveness to Beauty in the Ordinary Scale to measure the construct. Using a mixed-methods approach, combining a series of laboratory experiments and field studies from a diverse sample of consumers (Npaper1 = 49,435; Npaper2 = 2,051), the authors show in the first paper that unappealing (appealing) incidental sensory experiences lead to lower (higher) product evaluations, including perceived quality and purchase intention. The effect emerges when the incidental evaluation pertains to a dimension closely related to the product dimension being evaluated. In the second paper, the findings provide evidence of validity and reliability of the Attentiveness to Beauty in the Ordinary Scale, situate the scale in a network of related constructs such as appreciation of beauty, engagement with beauty, dispositional awe, voluntary simplicity, materialism, mindfulness, and subjective happiness, and demonstrate the predictive value of the scale for consumer perceptions and behavior. Specifically, people high (vs. low) in ordinary beauty attentiveness are less discriminating in aesthetic evaluations of ordinary elements, find higher product quality in naturally-aesthetic packaging, are less persuaded by endorsers' attractiveness, and are more likely to buy imperfect produce. This dissertation contributes to the literature on aesthetics and sensory marketing by revealing that aesthetic experiences that are not intentionally designed or not expected but naturally occur in consumption environments have a significant impact on consumer evaluations. The results have practical implications for marketers and designers, who can leverage the power of incidental aesthetics in marketing strategies to enhance product perceptions. / Doctor of Philosophy / This dissertation explores, across two papers, how natural aesthetic qualities found in things, people, places, or in product contexts, referred to as incidental aesthetics, can influence our perceptions and evaluations of products. In the first paper, the authors find a novel effect in which consumers "merge" aesthetic evaluations of incidental product context that do not affect the functionality of the product (e.g., bad/good music on headphones) with product evaluations they make at the same time (e.g., bad/good quality headphones). This effect occurs because people spontaneously mix the evaluation of the context (e.g., music sound) with the evaluation of a closely related product attribute (e.g., sound quality). In the second paper, the authors define attentiveness to beauty in the ordinary as a disposition that some people have of being more open to finding beauty when it is not expected (i.e., incidental aesthetics) and therefore seeing beauty more frequently in everyday situations than other people. The authors create a scale to measure this individual disposition and find that 1) people with high (vs. low) attentiveness to ordinary beauty see less of a difference in the beauty of elements high and low in aesthetics, 2) find higher product quality in naturally-aesthetic packaging, 3) are less persuaded by the attractiveness of an endorser in an advertisement, and 4) are more likely to buy aesthetically imperfect produce. Adding to existing research, the findings of both papers provide new insights into the impact of incidental aesthetics in consumption settings. Surprisingly, even when aesthetic experiences are not intentionally designed or expected to be found, they can still play a significant role in shaping consumer behavior. These findings have practical implications for marketers, who should consider the incidental aesthetics of their products and contexts to create a more positive experience for consumers, leading to higher product perceptions. Overall, this research suggests that the power of aesthetics in influencing behavior extends beyond what consumers consciously perceive or expect to find.

Syftet med denna studie är att undersöka och diskutera huruvida influencers påverkar människor när det kommer till skönhetsideal. Undersökningen syftar till att öka förståelsen för vilka faktorer som kan ligga bakom att personer överväger eller beslutar sig för att göra ett skönhetsingrepp. Studien syftar även till att undersöka på vilket sätt influencers påverkar skönhetsidealet. Studien utgår ifrån följande tre frågeställningar:  På vilken plattform förekommer mest hets kring skönhet? Hur motiverar influencers och privatpersoner skönhetsingrepp? På vilket sätt påverkar influencers skönhetsidealet? För att besvara studiens frågeställningar gjordes en kvantitativ undersökning i form av en enkät med ett kvalitativt moent, som sedan kombinerades med en kvalitativ innehållsanalys av fyra utvalda influencers och deras content på sociala medier. Det övergripande resultatet visar en relativt enig bild av att influencers bär ett visst ansvar över vilket skönhetsideal de förmedlar och att det i sin tur påverkar människors val och strävan efter skönhetsingrepp. Ur enkätstudiens resultat framkom att respondenterna upplever att det råder mest hets kring skönhetsideal på plattformen Instagram. / The purpose of this study is to examine and discuss whether influencers have an effect on people when it comes to beauty ideals. The research aims to increase understanding of the factors tat may contribute to individuals considering or deciding to undergo cosmetic procedures. The study also aims to explore in what way influencers affect the beauty ideal. The study is based on the following questions: On which platform does beauty pressure occur the most? How do influencers and individuals justify cosmetic procedures? In what way do influencers affect the beauty ideal? To answer the research questions, a quantitative study was conducted using a survey, which was then combined with a qualitative content analysis of four selected influencers content on social media. The overall result shows how a relatively unanimous view that influencers bear a certain responsibility for the beauty ideals they convey and that it, in turn, affects people's choices and pursuit of cosmetic procedures. From the result of the survey, it emerged that respondents perceive that there is the most pressure regarding beauty ideals on the platform Instagram.

[ES] El presente estudio se centra en abordar aquellos aspectos relacionados con la "belleza" que pasan desapercibidos en la visión clásica y que tampoco son reconocidos o apreciados en su plenitud en las perspectivas internacionales. En este análisis proponemos una visión alternativa a los cánones actuales nombrada "belleza intangible" para distinguirla del sentido de la belleza racional y visible. Para ello hemos examinado una serie de conceptos culturales y enfoques estéticos relacionados con la expresión del espíritu abstracto y el tiempo en las culturas de Asia Oriental, China y Japón, encontrando asimismo expresiones similares en la perspectiva de Occidente. En el proceso de observación documental también hemos profundizado en la comprensión de algunos conceptos estéticos como: el Yijing, lo vacío, Wabi-sabi, Y¿gen, Mono no aware, las ruinas y la nostalgia. Por otra parte, hemos estudiado la propia naturaleza de las imágenes fotográficas y sus expresiones particulares asociadas a esta connotación estética. El conocimiento del tiempo, el espacio y la belleza que transmiten estas expresiones artísticas son aspectos característicos de las distintas culturas que nos acercan a los planteamientos estéticos de los demás. Este trabajo analiza la manifestación práctica de dichas nociones a través de un estudio de caso de imágenes fotográficas de los artistas orientales y occidentales: Lang Jingshan, Yang Yongliang, Yamamoto Masao, Wolfgang Tillmans, Albarrán Cabrera y Sally Mann. Con todo ello, hemos logrado desvelar y contemplar dicha belleza relacionada con la expresión del espíritu abstracto y el tiempo al que apunta el objetivo del estudio. Por ultimo, en esta investigación se ha llevado a cabo un proyecto de experimentación artística para verificar la revelación y percepción de la belleza intangible a través de imágenes fotográficas. / [CAT] El present estudi se centra en abordar aquells aspectes relacionats amb la "bellesa" que passen desapercebuts en la visió clàssica i que tampoc són reconeguts o benvolguts en la seua plenitud en les perspectives internacionals. En aquesta anàlisi proposem una visió alternativa als cànons actuals nomenada "bellesa intangible" per a distingir-la del sentit de la bellesa racional i visible. Per a això hem examinat una sèrie de conceptes culturals i enfocaments estètics relacionats amb l'expressió de l'esperit abstracte i el temps en les cultures d'Àsia Oriental, la Xina i el Japó, trobant així mateix expressions similars en la perspectiva d'Occident. En el procés d'observació documental també hem aprofundit en la comprensió d'alguns conceptes estètics com: el Yijing, el buit, Wabi-sabi, Y¿gen, Mono no aware, les ruïnes i la nostàlgia. D'altra banda, hem estudiat la pròpia naturalesa de les imatges fotogràfiques i les seues expressions particulars associades a aquesta connotació estètica. El coneixement del temps, l'espai i la bellesa que transmeten aquestes expressions artístiques són aspectes característics de les diferents cultures que ens acosten als plantejaments estètics de els altres. Aquest treball analitza la manifestació pràctica d'aquestes nocions a través d'un estudi de cas d'imatges fotogràfiques dels artistes orientals i occidentals: Lang Jingshan, Yang Yongliang, Yamamoto Masao, Wolfgang Tillmans, Albarrán Cabrera i Sally Mann. Amb tot això, hem aconseguit revelar i contemplar aquesta bellesa relacionada amb l'expressió de l'esperit abstracte i el temps al qual apunta l'objectiu de l'estudi. Per ultime, en aquesta investigació s'ha portat a cap un projecte d'experimentació artística per a verificar la revelació i percepció de la bellesa intangible a través d'imatges fotogràfiques. / [EN] The present study focuses on addressing those aspects of "beauty" that are underestimated in the classical view and which are either unrecognised or underappreciated in their plenitude in international perspectives. In this analysis, we propose an alternative vision to the current canons called "intangible beauty" to distinguish it from the rational and visible sense of beauty. For this purpose we have examined a number of cultural concepts and aesthetic approaches related to the expression of abstract spirit and time in the East Asian cultures of China and Japan, as well as finding similar expressions in Western perspectives. In the process of documentary observation we further deepened our understanding of some aesthetic concepts such as: the Yijing, emptiness, Wabi-sabi, Y¿gen, Mono no aware, ruins and nostalgia. On the other hand, we have studied the proper nature of photographic images and their particular expressions associated with this aesthetic connotation. The knowledge of time, space and beauty conveyed by these artistic expressions are characteristic aspects of different cultures that bring us closer to each other's aesthetic approaches. This work examines the practical manifestation of these notions through a case study of photographic images by Eastern and Western artists: Lang Jingshan, Yang Yongliang, Masao Yamamoto, Wolfgang Tillmans, Albarrán Cabrera and Sally Mann. With all this, we have managed to unveil and contemplate such beauty related to the expression of the abstract spirit and the time to which the aim of the study is directed. Furthermore, during this research, an artistic experimentation project has been carried out to verify the revelation and perception of intangible beauty through photographic images. / Xiu, K. (2023). Belleza intangible: el espíritu abstracto y el tiempo a través de la imagen fotográfica en el mundo oriental y occidental. Estudio de caso y experimentación mediante la creación de obra artística [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/196011

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The purpose of this study is to analyze and understand why some Black women in Greensboro, North Carolina have made the decision to wear their hair naturally, in its original kinky, curly, non-straightened form. I’ve chosen this topic because “in our society, long straight hair has generally been considered the gold standard for attractiveness” (Rosette & Dumas, 2007, p. 410) and by deviating from that gold standard, Black women are affected, personally and politically. In my perspective, it is important to understand why a woman would opt to make this choice, knowing the potential backlash she faces (i.e. losing her job, rejection in a romantic relationship, or school suspension). To facilitate this purpose, the guiding research inquiries included 10 questions about the woman’s hair journey, at different stages of her life: before perming, while perming, and going natural. In speaking with 10 women from three different generations, I found that the process of going natural is at once complex and simple, is simultaneously gradual and instant, both terrifying and liberating. Ultimately, I learned that even though various factors play a part in this process, “going natural” is a decision mostly directed and determined by the woman standing in the mirror. / MS