Thesis (M.A.)--Brigham Young University. Dept. of Communications, 2005. / Includes bibliographical references (p. 47-61).

The aim of this study is to review Taiwan’s training structure through a lens comparative study on the UK’s training approach for beauty professionals. Due to the distinctive differences between Taiwan and the UK, the methodological approach was designed differently for each in order to meet the aim and objectives. Apart from document analysis used for both countries, auto-ethnography was conducted in the UK; while in Taiwan observations and expert interviews were employed to identify the fundamental causes of the mismatch between education and industry. A strategy was proposed, based on the strong points identified from the UK, to improve the current structure of Taiwan. Three key features are identified from the UK that could be considered to alleviate Taiwan’s fundamental problems. They are respectively: National Occupational Standards, a Professional Body and a Quality Assurance process. Three key features are new to Taiwan, so that their implementation requires time and collaborative effort from the Taiwanese government, vocational education and industry. These features were embedded in three proposed models. Three models were proposed as a holistic structure to include all relevant stakeholders. The three models are the Service, Work Placement and Nurturing models. The impact of this study on Taiwan training structure will be substantial because it is the first step to bring all relevant stakeholders to communicate and interact through setting an agreed standard and through the treatment service framework provided by the Service Model. Secondly, the Work Placement Model provides a structure for assessment in workplaces to ensure that learning takes place in the workplace and to create an opportunity of knowledge sharing, allowing the theory to meet the practice. Thirdly, an overall Nurturing model of the training for beauty professionals is developed, with a professional body to provide a platform for all stakeholders, including government. Ultimately, everyone involved in the profession would be benefited and more importantly, the broad concepts and models might be of use to other domains.

Desde a tenra idade, meninas aprendem o quanto é importante “estar na moda” em nossa sociedade. Cada vez mais, está em evidência a prática e a necessidade do embelezamento feminino. Mulheres ditas “comuns”, em busca de um lugar nas passarelas, frente aos novos “holofotes contemporâneos”, espetacularizam seus corpos, tentando imitar, seguir os segredos de beleza de uma diva famosa, modelo ou artista de cinema. Com o objetivo de encontrar a mais nova top model brasileira, através de um concurso de beleza, o reality show – Menina Fantástica – exibido no ano de 2012 pelo programa de televisão Fantástico – transmitido aos domingos pela TV Globo, mostrou como uma menina deve se fazer “fantástica” para realizar o seu grande sonho de tornar-se uma manequim de sucesso. Entre maquiagens e produtos de beleza, as meninas aprenderam a ser princesas e bonecas da moda. Para tornar o corpo um acessório de charme e muita graça, era mostrada uma beleza que se faz contemporânea e que pode estar ao alcance de qualquer mulher, ou seja, qualquer menina pode ter a chance de fazer-se “fantástica” e conquistar o brilho e o glamour do universo fashion. Mas para isso, ela precisava construir um estilo de viver a sua feminilidade, que deveria ser top. Essa busca pelo brilho, esse encantamento por ser uma manequim de luxo, inquietou-me. Essa cultura do “belo sexo” me fez pensar em corpos mutantes, corpos voláteis, que a qualquer preço desejam alcançar a fama e a felicidade de um corpo esbelto e perfeito. Foram esses questionamentos que me levaram a analisar as estratégias implicadas na produção dessas meninas, cujo maior sonho é ser fantástica, estampar a capa da revista Vogue e desfilar no Fashion Week. Vale tudo para ser uma top model? Como o sonho de ser uma modelo se constitui? A beleza se faz conquistada com muito trabalho e dedicação, qualquer jovem pode sonhar em ser uma Garota Verão ou uma Menina Fantástica ao cuidar da alimentação e praticar exercícios físicos. Esse jeito de ser feminina é promovido constantemente pelos cânones midiáticos contemporâneos. Uma estética de passagem para uma metamorfose, uma superprodução do feminino. O site das Meninas Fantásticas foi o material empírico de análise, visto que, ali, as candidatas a futuras manequins falam de si e narram seus sonhos, além de mostrarem sua trajetória neste concurso de beleza. Inspirada no aporte teórico dos Estudos Culturais em Educação e em suas perspectivas pós-estruturalistas, discuto essas novas feminilidades contemporâneas que recomendam esse cuidar de si, para embelezar-se e fotografar-se. Para compreender tal sonho, faço uma análise das narrativas das quatro finalistas do ano de 2012, que foram selecionadas entre tantas outras garotas para participar deste reality show. Confinadas numa mansão, as meninas eram preparadas para seguir a futura carreira de modelo/manequim. Especialistas da saúde, estilistas de moda e top models internacionais e consagradas na mídia, davam dicas às jovens meninas. Estas, por sua vez, aprenderam a modelar seus corpos, a ter equilíbrio e postura na passarela e a fazer de sua beleza uma vitrine de luxo. Camaleoas, fazem de seus corpos uma performatividade teatral, cujo corpo, visto como uma mercadoria, coloca-se em desfile, num verdadeiro show do feminino. / Since they were little girls, they have learnt how important is ‘being in fashion’ in our society. Female practice and urge to be beautiful is more and more in evidence. The so-called ‘ordinary’ women, in search of a space in the catwalk or under ‘contemporary spotlights’, spectacularise their bodies, trying to mimic or find out beauty secrets of a famous model or star. Aiming to find the Brazil’s latest top model in a beauty pageant, the reality show Menina Fantastica, presented in Fantastico on 2012 Globo Network on Sundays, showed what a girl should do to become fantastic for her big dream of becoming a luxurious model to come true. Between makeup and beauty products, girls learnt to be mode princesses. For the body to become a piece of charming and cute accoutrements, beauty is shown as modern and within the every woman’s grasp. In other words, any girl can become fantastic and win the glamour of the fashion universe. But for that, she must build her own way of living her femininity. This search for the gleam, this enchantment for being a luxurious model, has disturbed me. This culture of ‘fair sex’ makes me think about changing volatile bodies wishing fame and happiness for a thin perfect body at any cost. These issues led me to analyse strategies to shape these girls whose major dream is being fantastic, a centrefold in Vogue and model at Fashion Week. Is anything worth doing to be a top model in contemporary times? How does the dream to be a model come true? Beauty is won, and with hard work and dedication any girl may dream to be a Garota Verao or Menina Fantastica, by looking for healthy feeding and doing physical exercises. Contemporary media canons constantly promote this female way. It was an aesthetic that is on the way to metamorphosis, a female blockbuster. The empirical material for analysis was Meninas Fantásticas website, where candidates for future model careers talk about themselves, speak of their dreams and display their path in this beauty pageant. Drawn on the Cultural Studies in Education in their poststructuralist perspective, I discuss these new contemporary femininities, which recommend this self-care to embellish and to be shot. To understand this dream, I have analysed four contestants’ narratives in 2012, who were selected among so many girls to take part in this reality show. Confined in a large imposing house, girls were prepared to follow a future model career. Experts in health, wardrobe stylists and internationally famous top models gave tips for the young girls. These in turn learn to model their bodies, improve their posture and balance on the catwalk, and turn their beauty into luxurious display case. Chameleons make their bodies a drama performance, as the body is seen as a good in a pageant, a genuine female show.

Desde a tenra idade, meninas aprendem o quanto é importante “estar na moda” em nossa sociedade. Cada vez mais, está em evidência a prática e a necessidade do embelezamento feminino. Mulheres ditas “comuns”, em busca de um lugar nas passarelas, frente aos novos “holofotes contemporâneos”, espetacularizam seus corpos, tentando imitar, seguir os segredos de beleza de uma diva famosa, modelo ou artista de cinema. Com o objetivo de encontrar a mais nova top model brasileira, através de um concurso de beleza, o reality show – Menina Fantástica – exibido no ano de 2012 pelo programa de televisão Fantástico – transmitido aos domingos pela TV Globo, mostrou como uma menina deve se fazer “fantástica” para realizar o seu grande sonho de tornar-se uma manequim de sucesso. Entre maquiagens e produtos de beleza, as meninas aprenderam a ser princesas e bonecas da moda. Para tornar o corpo um acessório de charme e muita graça, era mostrada uma beleza que se faz contemporânea e que pode estar ao alcance de qualquer mulher, ou seja, qualquer menina pode ter a chance de fazer-se “fantástica” e conquistar o brilho e o glamour do universo fashion. Mas para isso, ela precisava construir um estilo de viver a sua feminilidade, que deveria ser top. Essa busca pelo brilho, esse encantamento por ser uma manequim de luxo, inquietou-me. Essa cultura do “belo sexo” me fez pensar em corpos mutantes, corpos voláteis, que a qualquer preço desejam alcançar a fama e a felicidade de um corpo esbelto e perfeito. Foram esses questionamentos que me levaram a analisar as estratégias implicadas na produção dessas meninas, cujo maior sonho é ser fantástica, estampar a capa da revista Vogue e desfilar no Fashion Week. Vale tudo para ser uma top model? Como o sonho de ser uma modelo se constitui? A beleza se faz conquistada com muito trabalho e dedicação, qualquer jovem pode sonhar em ser uma Garota Verão ou uma Menina Fantástica ao cuidar da alimentação e praticar exercícios físicos. Esse jeito de ser feminina é promovido constantemente pelos cânones midiáticos contemporâneos. Uma estética de passagem para uma metamorfose, uma superprodução do feminino. O site das Meninas Fantásticas foi o material empírico de análise, visto que, ali, as candidatas a futuras manequins falam de si e narram seus sonhos, além de mostrarem sua trajetória neste concurso de beleza. Inspirada no aporte teórico dos Estudos Culturais em Educação e em suas perspectivas pós-estruturalistas, discuto essas novas feminilidades contemporâneas que recomendam esse cuidar de si, para embelezar-se e fotografar-se. Para compreender tal sonho, faço uma análise das narrativas das quatro finalistas do ano de 2012, que foram selecionadas entre tantas outras garotas para participar deste reality show. Confinadas numa mansão, as meninas eram preparadas para seguir a futura carreira de modelo/manequim. Especialistas da saúde, estilistas de moda e top models internacionais e consagradas na mídia, davam dicas às jovens meninas. Estas, por sua vez, aprenderam a modelar seus corpos, a ter equilíbrio e postura na passarela e a fazer de sua beleza uma vitrine de luxo. Camaleoas, fazem de seus corpos uma performatividade teatral, cujo corpo, visto como uma mercadoria, coloca-se em desfile, num verdadeiro show do feminino. / Since they were little girls, they have learnt how important is ‘being in fashion’ in our society. Female practice and urge to be beautiful is more and more in evidence. The so-called ‘ordinary’ women, in search of a space in the catwalk or under ‘contemporary spotlights’, spectacularise their bodies, trying to mimic or find out beauty secrets of a famous model or star. Aiming to find the Brazil’s latest top model in a beauty pageant, the reality show Menina Fantastica, presented in Fantastico on 2012 Globo Network on Sundays, showed what a girl should do to become fantastic for her big dream of becoming a luxurious model to come true. Between makeup and beauty products, girls learnt to be mode princesses. For the body to become a piece of charming and cute accoutrements, beauty is shown as modern and within the every woman’s grasp. In other words, any girl can become fantastic and win the glamour of the fashion universe. But for that, she must build her own way of living her femininity. This search for the gleam, this enchantment for being a luxurious model, has disturbed me. This culture of ‘fair sex’ makes me think about changing volatile bodies wishing fame and happiness for a thin perfect body at any cost. These issues led me to analyse strategies to shape these girls whose major dream is being fantastic, a centrefold in Vogue and model at Fashion Week. Is anything worth doing to be a top model in contemporary times? How does the dream to be a model come true? Beauty is won, and with hard work and dedication any girl may dream to be a Garota Verao or Menina Fantastica, by looking for healthy feeding and doing physical exercises. Contemporary media canons constantly promote this female way. It was an aesthetic that is on the way to metamorphosis, a female blockbuster. The empirical material for analysis was Meninas Fantásticas website, where candidates for future model careers talk about themselves, speak of their dreams and display their path in this beauty pageant. Drawn on the Cultural Studies in Education in their poststructuralist perspective, I discuss these new contemporary femininities, which recommend this self-care to embellish and to be shot. To understand this dream, I have analysed four contestants’ narratives in 2012, who were selected among so many girls to take part in this reality show. Confined in a large imposing house, girls were prepared to follow a future model career. Experts in health, wardrobe stylists and internationally famous top models gave tips for the young girls. These in turn learn to model their bodies, improve their posture and balance on the catwalk, and turn their beauty into luxurious display case. Chameleons make their bodies a drama performance, as the body is seen as a good in a pageant, a genuine female show.

Desde a tenra idade, meninas aprendem o quanto é importante “estar na moda” em nossa sociedade. Cada vez mais, está em evidência a prática e a necessidade do embelezamento feminino. Mulheres ditas “comuns”, em busca de um lugar nas passarelas, frente aos novos “holofotes contemporâneos”, espetacularizam seus corpos, tentando imitar, seguir os segredos de beleza de uma diva famosa, modelo ou artista de cinema. Com o objetivo de encontrar a mais nova top model brasileira, através de um concurso de beleza, o reality show – Menina Fantástica – exibido no ano de 2012 pelo programa de televisão Fantástico – transmitido aos domingos pela TV Globo, mostrou como uma menina deve se fazer “fantástica” para realizar o seu grande sonho de tornar-se uma manequim de sucesso. Entre maquiagens e produtos de beleza, as meninas aprenderam a ser princesas e bonecas da moda. Para tornar o corpo um acessório de charme e muita graça, era mostrada uma beleza que se faz contemporânea e que pode estar ao alcance de qualquer mulher, ou seja, qualquer menina pode ter a chance de fazer-se “fantástica” e conquistar o brilho e o glamour do universo fashion. Mas para isso, ela precisava construir um estilo de viver a sua feminilidade, que deveria ser top. Essa busca pelo brilho, esse encantamento por ser uma manequim de luxo, inquietou-me. Essa cultura do “belo sexo” me fez pensar em corpos mutantes, corpos voláteis, que a qualquer preço desejam alcançar a fama e a felicidade de um corpo esbelto e perfeito. Foram esses questionamentos que me levaram a analisar as estratégias implicadas na produção dessas meninas, cujo maior sonho é ser fantástica, estampar a capa da revista Vogue e desfilar no Fashion Week. Vale tudo para ser uma top model? Como o sonho de ser uma modelo se constitui? A beleza se faz conquistada com muito trabalho e dedicação, qualquer jovem pode sonhar em ser uma Garota Verão ou uma Menina Fantástica ao cuidar da alimentação e praticar exercícios físicos. Esse jeito de ser feminina é promovido constantemente pelos cânones midiáticos contemporâneos. Uma estética de passagem para uma metamorfose, uma superprodução do feminino. O site das Meninas Fantásticas foi o material empírico de análise, visto que, ali, as candidatas a futuras manequins falam de si e narram seus sonhos, além de mostrarem sua trajetória neste concurso de beleza. Inspirada no aporte teórico dos Estudos Culturais em Educação e em suas perspectivas pós-estruturalistas, discuto essas novas feminilidades contemporâneas que recomendam esse cuidar de si, para embelezar-se e fotografar-se. Para compreender tal sonho, faço uma análise das narrativas das quatro finalistas do ano de 2012, que foram selecionadas entre tantas outras garotas para participar deste reality show. Confinadas numa mansão, as meninas eram preparadas para seguir a futura carreira de modelo/manequim. Especialistas da saúde, estilistas de moda e top models internacionais e consagradas na mídia, davam dicas às jovens meninas. Estas, por sua vez, aprenderam a modelar seus corpos, a ter equilíbrio e postura na passarela e a fazer de sua beleza uma vitrine de luxo. Camaleoas, fazem de seus corpos uma performatividade teatral, cujo corpo, visto como uma mercadoria, coloca-se em desfile, num verdadeiro show do feminino. / Since they were little girls, they have learnt how important is ‘being in fashion’ in our society. Female practice and urge to be beautiful is more and more in evidence. The so-called ‘ordinary’ women, in search of a space in the catwalk or under ‘contemporary spotlights’, spectacularise their bodies, trying to mimic or find out beauty secrets of a famous model or star. Aiming to find the Brazil’s latest top model in a beauty pageant, the reality show Menina Fantastica, presented in Fantastico on 2012 Globo Network on Sundays, showed what a girl should do to become fantastic for her big dream of becoming a luxurious model to come true. Between makeup and beauty products, girls learnt to be mode princesses. For the body to become a piece of charming and cute accoutrements, beauty is shown as modern and within the every woman’s grasp. In other words, any girl can become fantastic and win the glamour of the fashion universe. But for that, she must build her own way of living her femininity. This search for the gleam, this enchantment for being a luxurious model, has disturbed me. This culture of ‘fair sex’ makes me think about changing volatile bodies wishing fame and happiness for a thin perfect body at any cost. These issues led me to analyse strategies to shape these girls whose major dream is being fantastic, a centrefold in Vogue and model at Fashion Week. Is anything worth doing to be a top model in contemporary times? How does the dream to be a model come true? Beauty is won, and with hard work and dedication any girl may dream to be a Garota Verao or Menina Fantastica, by looking for healthy feeding and doing physical exercises. Contemporary media canons constantly promote this female way. It was an aesthetic that is on the way to metamorphosis, a female blockbuster. The empirical material for analysis was Meninas Fantásticas website, where candidates for future model careers talk about themselves, speak of their dreams and display their path in this beauty pageant. Drawn on the Cultural Studies in Education in their poststructuralist perspective, I discuss these new contemporary femininities, which recommend this self-care to embellish and to be shot. To understand this dream, I have analysed four contestants’ narratives in 2012, who were selected among so many girls to take part in this reality show. Confined in a large imposing house, girls were prepared to follow a future model career. Experts in health, wardrobe stylists and internationally famous top models gave tips for the young girls. These in turn learn to model their bodies, improve their posture and balance on the catwalk, and turn their beauty into luxurious display case. Chameleons make their bodies a drama performance, as the body is seen as a good in a pageant, a genuine female show.

The purpose of this thesis was to investigate the knowledge and perceptions on the sun, risks of prolonged exposure, tanning and beauty of young Canadian women. Conversations with 15 young women from the University of Ottawa were tape-recorded, transcribed, and then analyzed using thematic analysis and theories on gender and beauty. The results were divided into two articles, the first exploring the perception and knowledge young Canadian women have about the sun, tanning and its risks. In the first article, the themes generated were (a) perceptions of benefits and risks of sun exposure; (b) outdoor versus Indoor tanning; (c) conformity; (d) conflicting and ambiguous messaging; (e) self risk and other’s risk and; (f) no UV index awareness. The second article explores how the fifteen interviewees make sense of the sun safety messaging they are exposed to, and how they act on it. The themes identified were: (a) tanning as a social activity; (b) beauty; (c) base tanning; and (d) wearing SPF and reapplication. The overall conclusion to be drawn from this study is that while for the most part the group of women I interviewed was well informed when it came to sun safety and tanning, they still felt the pressure to tan from peers, society and the media. There were times when they shared that they were misinformed on the risks of engaging in harmful tanning practices. Further, the study contributed to finding that the vast majority of the participants admitted to not checking the UV index before going outdoors, either because they did not understand it or because they felt it would not make a difference to their daily practices and behaviours. This contradicted previous literature that emphasized on the connection Canadians often made with the environment and UV index. Impacts, implications, and future research directions are discussed in both articles.

No description available.

This thesis study takes a mixed methods and black feminist approach to find out how black women are represented within the beauty advertisements of women's fashion magazines.

Media-literacy education provides a way for people to assess and critically evaluate media images. Traditional media literacy programs have mitigated the negative effects of idealized media imagery such as reduced self-esteem, eating-disordered attitudes, and low body-satisfaction among women. Although education is moving increasingly to online platforms, the potential of media literacy education delivered online has not been evaluated. Based on social comparison and objectification theories, the purpose of this study was to quantitatively assess the comparative efficacy of online and face-to-face media literacy education programs. A quasi-experimental design using pre- and post-media literacy education program questionnaires was used. A mixed-method analysis of variance evaluated change in self-esteem, eating-disordered attitudes, and body satisfaction among college students. The study was conducted using a sample that included both male and female students from undergraduate classes. The study groups included traditional and online classes. Results for all three variables revealed that the media literacy education program did not have the predicted impact. Significant differences were not found between the online experimental (n = 65), face-to-face experimental (n = 50), and the online control group (n = 44) even though a significant main effect for time was found. The adverse effects of ubiquitous idealized media images remain well-documented; however, the swiftly evolving, increasingly balkanized, present-day media landscape may necessitate both an accommodating theoretical foundation and updated intervention instruments.

This collection of short stories explores the different ways in which women experience suffering. The narrative focuses on the daily lives of women who have undergone some type of heartbreak. While the stories occasionally include the incident which leads to despair, the collection is more concerned with the way women function after a personal tragedy. The stories show the grace of people who continue to move forward when their lives are filled with suffering. Sexuality enters the stories and exposes both the triumph and destructive nature of sexuality. A critical introduction which explains how complication and beauty amplify story proceeds the collection.