La recherche d’espaces dépouillés est l’un des grands marqueurs de l’évolution de la scénographie au XXe siècle. De même que pour les arts plastiques, cette tension vers le vide est associée à la redéfinition des formes dans leur mutation moderne et postmoderne. Plateaux nus et espaces vides constituent deux modalités particulières de cette recherche de l’épure. Le plateau nu débarrasse la scène du décor et de son appareil illusionniste et resserre la représentation sur la présence d’un acteur et l’écoute du texte. D’abord solution pratique, rupture avec un théâtre commercial et bourgeois, le plateau nu est ancré dans une conception éthique du théâtre. Cette première partie de l’étude se fonde sur les espaces de Jacques Copeau, Jean Vilar, Antoine Vitez et Christian Schiaretti. L’espace vide, étudié à travers le travail de Peter Brook, Claude Régy, Joël Pommerat et Nacera Belaza cherche à construire un ailleurs. Cette étude propose d’étudier le succès contemporain des esthétiques scéniques du vide et du dépouillement. Aujourd’hui, le plateau nu est devenu un patrimoine, portant en lui les valeurs du théâtre public et s’associant implicitement à une célébration de ses pionniers, Jacques Copeau et Jean Vilar. L’espace vide, vu à travers les traditions orientales se charge d’une spiritualité, et est aussi perçu comme l’au-delà mental de la représentation. Espaces vides et plateaux nus, s’ils ont pu naître de contraintes économiques sont aujourd’hui devenus des espaces luxueux. / The research of concise spaces is one of the marks of the scenography evolution on the 20th century. As in the visual arts, this mouvement towards to the void is associated with a redefinition of the forms in their modern and postmodern mutations. Naked stages and empty spaces constitute two particular modalities of research of an uncluttered style. The naked stage removes the scenery and the scenic illusion from the stage to focus its representation on the actor and the text. Starting as a practical solution and rupture with commercial and bourgeois theater, the naked stage is anchored in an ethical conception of theater. This first part of this study is based on the spaces according to Jacques Copeau, Jean Vilar, Antoine Vitez and Christian Schiaretti. The empty space seeks to find new horizons, examined through the concepts of space by Peter Brook, Claude Régy, Joël Pommerat and Nacera Belaza. This study proposes to examine the contemporary success of aesthetic scenics based on void and bareness. The naked stage has become nowadays a heritage, carrying values of public theater, and being implicitly associated with a celebration of its pioneers Jacques Copeau and Jean Vilar. Seen throughout eastern traditions, the empty stage is filled with spirituality and thus becomes a mental hereafter of the representation. Initially consequence of an economical imposition, naked stages and empty spaces have become luxurious spaces nowadays.

No description available.

O propósito desta investigação foi identificar e analisar os incidentes positivos e negativos, que envolveram a exposição corporal do cliente e a invasão da sua privacidade durante a assistência em Unidade de Terapia Intensiva, visto que para a realização de vários cuidados e procedimentos a nudez parcial ou total é inevitável. A população constitui-se de 15 enfermeiras lotadas em UTIs de atendimento ao adulto, no município de Maringá - PR. Como procedimento metodológico empregou-se a Técnica do Incidente Crítico (TIC), obtendo-se 30 relatos, 15 positivos e 15 negativos, dos quais extraíram-se 22 incidentes críticos positivos (ICP) e 30 negativos (ICN). Estes foram compilados em 6 categorias denominadas como Necessidades Básicas, Admissão e Permanência na UTI, Procedimentos Terapêuticos, Avaliação Física, Horário de Visita e Manifestação da Sexualidade. Os comportamentos da equipe de saúde extraídos dos incidentes críticos foram agrupados em 5 categorias, constituindo-se em Questão de Gênero, Proteção e Manutenção da Privacidade, Atitudes do Profissional, Orientação ao Cliente e Orientação à Equipe de Saúde. Da mesma forma, os comportamentos dos clientes identificados foram distribuídos em 3 categorias, definidas como Questão de Gênero, Proteção e Manutenção da Privacidade e Atitudes do Cliente. As conseqüências para a equipe de saúde e para os clientes oriundas dos incidentes constituíram 4 categorias, formuladas como Sentimentos Negativos, Sentimentos Positivos, Prejuízo na Qualidade da Assistência e Garantia da Qualidade da Assistência. A interpretação dos resultados evidenciou que a categoria de situação mais freqüente nos ICP foi Necessidades Básicas (21,2%) e entre os ICN foi Admissão e Permanência na UTI (15,4%). A categoria de comportamento da equipe de saúde que prevaleceu nos ICP (41,1%) e nos ICN (41,4%) foi Proteção e Manutenção da Privacidade, ao passo que a categoria de comportamento dos clientes predominante entre os ICP foi Questão de Gênero (45,1%) e nos ICN foi Proteção e Manutenção da Privacidade (59,6%). A categoria de conseqüência mais freqüente para a equipe de saúde entre os ICP foi Garantia da Qualidade da Assistência (41,1%) e para os clientes foram os Sentimentos Positivos (37,6%), evidenciando-se que prevaleceram Sentimentos Negativos nos ICN para a equipe de saúde (41,5%) e para os clientes (57,3%). Verificou-se melhor preparo da enfermagem para contornar problemas relacionados ao atendimento das necessidades básicas, porém denota-se despreparo e falta de habilidade para lidar com a maioria das situações. Constatou-se que equipe de saúde e clientes, principalmente a enfermagem, manifesta os mesmos sentimentos frente à exposição corporal do cliente durante a assistência. Evidenciou-se que os aspectos que garantem melhor qualidade à assistência para ambos são proteção da intimidade, respeito, confiança, orientação e compreensão da mesma, ao passo que as que mais prejudicam a qualidade da assistência são desproteção e invasão da intimidade, desconsideração do profissional pelo cliente e dificuldade da equipe em lidar com algumas situações. Denotam-se como fatores complicadores, a diferença de gênero entre cuidador e cliente e a disposição dos leitos nestas unidades, predispondo o cliente à exposição e dificultando o resguardo da privacidade. Emergiu a necessidade de se preparar melhor a equipe para contornar situações de conflito oriundas da exposição corporal, devendo-se considerar os aspectos sócio-culturais das pessoas envolvidas. Por fim, ressalta-se que a compreensão dos aspectos que permeiam a exposição corporal na esfera do cuidado é imprescindível quando se tem por objetivo a humanização no contexto da assistência à saúde. / This study aimed at identifying and analyzing positive and negative incidents involving clients’ physical exposure and the invasion of their privacy during caregiving in an Intensive Care Unit (ICU) resulting from the need of partial or total nudity for the performance of various types of care and procedures. The population consisted of 15 nurses working in the ICU for adults in the city of Maringá – PR, Brazil. The Critical Incident Technique (CIT) was used as a methodological procedure, thus obtaining 30 accounts of which 15 were positive and 15 were negative. From these, 22 positive critical incidents (PCIs) and 30 negative critical incidents (NCIs) were extracted. The incidents were compiled in 6 categories: basic needs, admission and permanence in the ICU, therapeutic procedures, physical evaluation, visiting hours and sexuality manifestation. The behaviors presented by the health team which were extracted from the critical incidents were grouped in 5 categories: gender-related questions, privacy protection and maintenance, attitudes from professionals, client orientation and health team orientation. The identified client’s behaviors were distributed in 3 categories defined as gender-related questions, protection and maintenance of clients’ privacy and attitudes. The outcomes to the health team and clients stemming from the incidents comprised four categories formulated as negative feelings, positive feelings, impairment of caregiving quality and assurance of caregiving quality. The interpretation of results showed that the most frequent situation category in the PCIs was basic needs (21.2%), whereas in the NCIs, it was admission and permanence in the ICU (15.4%). The health team’s behavior category which prevailed in the PCIs (41.1%) and in the NCIs (41.4%) was privacy protection and maintenance. The predominant clients’ behavior category in the PCIs was gender-related questions (45.1%) and in the NCIs it was privacy protection and maintenance (59.6%). The health team’s most frequent consequence category in the PCIs was assurance of caregiving quality (41.1%), and the clients’ was positive feelings (37.6%). It was also shown that the category negative feelings prevailed in the NCIs for the health team (41. 5%) as well as for clients (57.3%). It was verified that the nursing staff was better prepared to deal with problems related to meeting basic needs; however, lack of preparation and skills to manage most situations was also observed. It was found that the health team and clients, particularly the nursing staff, showed similar feelings concerning the client’s physical exposure during caregiving. Additionally, it was shown that the aspects ensuring better caregiving quality to both were intimacy protection, respect, trust, orientation and understanding with regard to such protection, whereas those which most frequently impaired caregiving quality were lack of protection, intimacy invasion, disregard of clients by the professionals and the team’s difficulty in dealing with certain situations. Gender difference between the caregiver and the client was noted as a complicating factor in addition to the arrangement of beds in the units, which predisposes the client to exposure and impairs privacy protection. The need to better prepare the health team to cope with conflict situations stemming from physical exposure arose, while the sociocultural aspects of the individuals involved must be taken into account. Finally, it is pointed out that understanding the aspects which permeate physical exposure in the realms of caregiving is essential if the humanization of health care settings is to be achieved.

No description available.

The income generated from Afrikaans films has fluctuated over the years. Currently this is still the case and the profits generated from Afrikaans films over the past seven years are cause for concern. The Afrikaans film industry is struggling to keep film attendees interested in their films. The need to better understand the Afrikaans film attendees‟ purchase behaviour has become more important than ever. By obtaining this information the producers, investors and marketers of Afrikaans films can produce and market Afrikaans films according to the market‟s needs and ultimately increase Afrikaans film theatre ticket sales. The primary goal of the study was to determine the ticket purchase behaviour of Afrikaans film theatre attendees to help the industry to increase ticket sales. To achieve this goal the following objectives were set: firstly, to do a literature overview on the Afrikaans film industry. Secondly, to conduct a literature analysis to identify possible aspects that can contribute to the ticket purchases of the performing arts (with the main focus on film theatre). Thirdly, to do a comparative analysis on the ticket purchase behaviour of film theatre attendees versus live theatre attendees. Fourthly, to analyse Afrikaans students and scholars‟ purchase behaviour of Afrikaans film theatre tickets. Lastly, to draw conclusions from the study and to make subsequent recommendations that aim to provide solutions for the Afrikaans film industry by increasing their film theatre ticket sales. Objectives 1 and 2 were achieved in the literature study (Chapter 2). Firstly the origin and evolution of the film industry was explained; and an overview of the history of the South African film industry was provided. Purchase behaviour was studied to understand the concept in general, as well as in the context of arts and cultural goods. Different purchase behaviour models were analysed and aspects contributing to the ticket purchases of arts / culture / film theatre / live theatre productions were identified and analysed. Objective 3 was achieved in Article 1 (Chapter 3). A comparative analysis was done on the ticket purchase behaviour of film theatre attendees versus live theatre attendees. An exploratory factor analysis was conducted on the 36 identified aspects that contribute to Afrikaans film theatre ticket purchases. The data for the article was collected in 2011 and 2013 at the Klein Karoo National Kunstefees (KKNK) with questionnaires. Attendees who viewed one or more Afrikaans films in the past year were requested to complete a questionnaire. This resulted in five factors labelled: Proudly Afrikaans, Production credentials, Quality facilities, Marketing and Leisure experience. The most important factor that influenced the film theatre attendees was identified as „Proudly Afrikaans’ and the second highest factor was „Leisure experience’. Confirmatory factor analyses were then performed on 20 identical and overlapping aspects identified from the film theatre ticket purchase data and live theatre ticket purchase data (secondary data from the study of Botha, 2011). The following factors were identified: Media/ Marketing, Quality facilities, Credentials and Lesure experience. To compare the contributing factors of Afrikaans film theatre ticket purchases to the contributing factors of Afrikaans live theatre ticket purchases, a t-test was performed. The t-test indicated that the film theatre attendees are more influenced by the factors Media, Quality facilities and Leisure experience; and the live theatre attendees on the other hand were more influenced by Credentials. Determining the key factors contributing to the ticket purchases of younger Afrikaans film theatre attendees was achieved in Article 2 (Objective 4). The objective was achieved by conducting a survey amongst Afrikaans-speaking students at the North-West University (Potchefstroom Campus); and Afrikaans-speaking scholars at an inter-school sports event hosted in the North West province. The questionnaire for students was dispersed at various on-campus classes attended by the students and the questionnaire for scholars was dispersed at an inter-school sports event for Afrikaans schools from various provinces. They were targeted at different sports fields where they were participating in various sports items. An exploratory factor analysis was conducted on the collected data to determine the factors contributing to the film theatre ticket purchases of this younger Afrikaans film theatre market. Five factors were identified. These factors were labelled: Quality film, Quality facilities, Proudly Afrikaans, Marketing and Production credentials. ANOVAs and t-tests were performed to explore possible difference between the mean values of the factors based on certain independent variables. Statistical significant differences were found: men and women are influenced to the same degree by all five of these factors; the five factors have a stronger influence the younger the attendees are. Respondents who prefer Afrikaans films above English films are more influenced by all five of these factors; and film attendees who view three or more films in one month are more influenced by the factors Quality facilities, Proudly Afrikaans and Production credentials. The younger Afrikaans film viewers‟ most popular medium for viewing films is television (DSTV / Box Office channels). The fifth objective was achieved by drawing conclusions from the study and making appropriate recommendations. The results of this study confirm that the study assisted in making a significant contribution to the producers and marketers of the Afrikaans film theatre industry. This research helps the industry to better understand their market based on its purchase behaviour. This research enables Afrikaans film producers and marketers to improve the effectiveness of their marketing campaigns amongst Afrikaans arts festival patrons and younger Afrikaans film theatre attendees. Ultimately, implementing the recommendations of this study will lead to the increase of Afrikaans film theatre ticket sales and help sustain this currently struggling Afrikaans film theatre industry. / MCom (Tourism Management), North-West University, Potchefstroom Campus, 2015

The income generated from Afrikaans films has fluctuated over the years. Currently this is still the case and the profits generated from Afrikaans films over the past seven years are cause for concern. The Afrikaans film industry is struggling to keep film attendees interested in their films. The need to better understand the Afrikaans film attendees‟ purchase behaviour has become more important than ever. By obtaining this information the producers, investors and marketers of Afrikaans films can produce and market Afrikaans films according to the market‟s needs and ultimately increase Afrikaans film theatre ticket sales. The primary goal of the study was to determine the ticket purchase behaviour of Afrikaans film theatre attendees to help the industry to increase ticket sales. To achieve this goal the following objectives were set: firstly, to do a literature overview on the Afrikaans film industry. Secondly, to conduct a literature analysis to identify possible aspects that can contribute to the ticket purchases of the performing arts (with the main focus on film theatre). Thirdly, to do a comparative analysis on the ticket purchase behaviour of film theatre attendees versus live theatre attendees. Fourthly, to analyse Afrikaans students and scholars‟ purchase behaviour of Afrikaans film theatre tickets. Lastly, to draw conclusions from the study and to make subsequent recommendations that aim to provide solutions for the Afrikaans film industry by increasing their film theatre ticket sales. Objectives 1 and 2 were achieved in the literature study (Chapter 2). Firstly the origin and evolution of the film industry was explained; and an overview of the history of the South African film industry was provided. Purchase behaviour was studied to understand the concept in general, as well as in the context of arts and cultural goods. Different purchase behaviour models were analysed and aspects contributing to the ticket purchases of arts / culture / film theatre / live theatre productions were identified and analysed. Objective 3 was achieved in Article 1 (Chapter 3). A comparative analysis was done on the ticket purchase behaviour of film theatre attendees versus live theatre attendees. An exploratory factor analysis was conducted on the 36 identified aspects that contribute to Afrikaans film theatre ticket purchases. The data for the article was collected in 2011 and 2013 at the Klein Karoo National Kunstefees (KKNK) with questionnaires. Attendees who viewed one or more Afrikaans films in the past year were requested to complete a questionnaire. This resulted in five factors labelled: Proudly Afrikaans, Production credentials, Quality facilities, Marketing and Leisure experience. The most important factor that influenced the film theatre attendees was identified as „Proudly Afrikaans’ and the second highest factor was „Leisure experience’. Confirmatory factor analyses were then performed on 20 identical and overlapping aspects identified from the film theatre ticket purchase data and live theatre ticket purchase data (secondary data from the study of Botha, 2011). The following factors were identified: Media/ Marketing, Quality facilities, Credentials and Lesure experience. To compare the contributing factors of Afrikaans film theatre ticket purchases to the contributing factors of Afrikaans live theatre ticket purchases, a t-test was performed. The t-test indicated that the film theatre attendees are more influenced by the factors Media, Quality facilities and Leisure experience; and the live theatre attendees on the other hand were more influenced by Credentials. Determining the key factors contributing to the ticket purchases of younger Afrikaans film theatre attendees was achieved in Article 2 (Objective 4). The objective was achieved by conducting a survey amongst Afrikaans-speaking students at the North-West University (Potchefstroom Campus); and Afrikaans-speaking scholars at an inter-school sports event hosted in the North West province. The questionnaire for students was dispersed at various on-campus classes attended by the students and the questionnaire for scholars was dispersed at an inter-school sports event for Afrikaans schools from various provinces. They were targeted at different sports fields where they were participating in various sports items. An exploratory factor analysis was conducted on the collected data to determine the factors contributing to the film theatre ticket purchases of this younger Afrikaans film theatre market. Five factors were identified. These factors were labelled: Quality film, Quality facilities, Proudly Afrikaans, Marketing and Production credentials. ANOVAs and t-tests were performed to explore possible difference between the mean values of the factors based on certain independent variables. Statistical significant differences were found: men and women are influenced to the same degree by all five of these factors; the five factors have a stronger influence the younger the attendees are. Respondents who prefer Afrikaans films above English films are more influenced by all five of these factors; and film attendees who view three or more films in one month are more influenced by the factors Quality facilities, Proudly Afrikaans and Production credentials. The younger Afrikaans film viewers‟ most popular medium for viewing films is television (DSTV / Box Office channels). The fifth objective was achieved by drawing conclusions from the study and making appropriate recommendations. The results of this study confirm that the study assisted in making a significant contribution to the producers and marketers of the Afrikaans film theatre industry. This research helps the industry to better understand their market based on its purchase behaviour. This research enables Afrikaans film producers and marketers to improve the effectiveness of their marketing campaigns amongst Afrikaans arts festival patrons and younger Afrikaans film theatre attendees. Ultimately, implementing the recommendations of this study will lead to the increase of Afrikaans film theatre ticket sales and help sustain this currently struggling Afrikaans film theatre industry. / MCom (Tourism Management), North-West University, Potchefstroom Campus, 2015

Studien har gjorts på en avdelning på en förskola som till stor del består av asylsökande barn. Studien syftar till att undersöka hur barn med ett begränsat gemensamt verbalt språk leker utifrån ett barnperspektiv. För att komma närmare ett barnperspektiv har metoden varit videoetnografisk metod i kombination med fältanteckningar och informella samtal med pedagogerna på avdelningen. Studien utgår från en fenomenologisk ansats som intresserar sig för kroppens meningsskapande. Resultaten visade att barnen hade ett stort engagerande intresse för att ha roligt med varandra. Deras lekar, förhandlingar och samtal hade som mål att få vara tillsammans och ha roligt. Kroppsspråket och den totala närvaron har visat sig vara viktig för deras icke verbala kommunikation. De är således skickliga på att signalera lek till varandra och på att improvisera via signalerna och sin fysiska närvaro. Konflikter är ofta förekommande och ibland svåra att hantera och kan bli frustrerande för barnen men viljan att ha en rolig stund tillsammans hjälper dem igenom svårigheterna. Lekens egenvärde har visats ha stor betydelse för barnen men inte som pedagogiskt verktyg utan som ett sätt att umgås med varandra och ha roligt tillsammans.

Pour respecter les droits d’auteur, la version électronique de cette thèse a été dépouillée de certains documents visuels et audio-visuels. La version intégrale de la thèse a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal. / Nous proposons dans ce travail que l’artiste Egon Schiele (1890-1918) a su exprimer l’ambivalence et l’angoisse entourant la question de la sexualité à Vienne au début du XXe siècle, plus spécifiquement à travers ses œuvres érotiques féminines sur papier réalisées en 1910-1911. À cette époque, des discours polarisés essentialisant la femme et sa sexualité se développent, notamment dans les sphères de la psychanalyse et de la philosophie continentale. La liberté sexuelle des jeunes femmes est réprimée et l’accès à l’information sur la sexualité leur est refusé. Pour les hommes, il s’avère ardu de concilier les propos puritains prônant l’abstention et leurs pulsions et curiosité libidinales, qui ne peuvent être assouvies que secrètement auprès de prostituées. Pour plusieurs, une vie sexuelle active devient synonyme de maladies vénériennes et de déchéance sociale. C’est en favorisant une approche théorique psychanalytique et féministe, portant sur le regard confronté au corps sexué, que nous étudions les modes d’adresse s’établissant entre les modèles, le spectateur et l’artiste à travers ce corpus, afin de mieux comprendre les affects particuliers et les bouleversements des traditions phallocentriques mis de l’avant par Schiele. Ce mémoire considère qu'en optant pour une représentation plastique du corps féminin dérangeante et constamment variable, de même qu’en interpellant ses contemporains de façon ambiguë grâce à des dispositifs visuels hybrides, le jeune artiste a su ébranler l'autorité traditionnelle du spectateur/voyeur masculin face à l’objet de désir féminin. Il serait ainsi parvenu à critiquer l'hypocrisie et l'inconfort identitaire et sexuel dominants au tournant du siècle. / In the present work, we argue that the artist Egon Schiele (1890-1918) was able to express the ambivalence and anxiety surrounding the topic of sexuality around 1900 through his erotic drawings of female nudes, especially those produced in 1910-1911. In the early twentieth century, in Vienna, essentialist and polarized concepts about women and female sexuality are developed, especially in the fields of psychoanalysis and continental philosophy. Young women are denied access to any kind of sexual knowledge or experimentation. Meanwhile, men are torn between austere discourses preaching abstention and their sexual urges and curiosity; many must secretly resort to prostitutes in order to satisfy their impulses. For most, an active sex life implies venereal diseases and social decay. While referring to psychoanalytical and feminist theories about the gaze and its encounter with the carnal body, we have studied the spectatorial relationships established between the models, the spectator and the artist across this corpus, in order to better understand the repudiation of the phallocentric traditions as proposed by Schiele. We believe that by representing the female body in disturbing and inconstant esthetic manners, as well as by reaching out to his contemporaries in ambiguous ways through hybrid visual devices, the young artist was able to undermine the traditional authority of the male viewer over the feminine object of desire. In so doing, Schiele managed to criticize the prevailing hypocrisy and discomfort regarding sexual identities and practices at the turn of the century.

Este trabalho foca, a passagem da pornografia leve (softcore) de mercadoria artesanal e clandestina a produto indústrial. Essa passagem é parte da implantação da sociedade de consumo e do moderno hedonismo O pôster central da Playboy americana é a imagem mercadoria gráfica mais bem sucedida de todos os tempos, e sua fotografia, codificada, norma social para a luxúria. / This work focuses on the passage of the softcore pornography from a clçandestine commodity to a industrial product . This passage happen as a part of the establishment of the consumer society and of the modern hedonism. Playboys centerfold may be considered the more successfull image commodity of all times and its photography, highly codifyed, is a social norm to lust.

La recherche de cette thèse s’articule autour de mon travail plastique de la série « Raw Meat » où je me sers exclusivement de l’image publicitaire de viande crue que je détourne pour construire des corps féminins. Elle répond à la question suivante : Pourquoi sommes-nous affectés par la vue, par l’aspect de la matière de la viande crue ; et pourquoi sommes-nous davantage affectés lorsque la viande crue forme – ou fusionne avec – le corps de la femme ? L’origine de la force de cette image est ciblée comme issue de notre passé primitif ; la recherche soulève nos liens les plus profonds avec la chair animale et ses pratiques liées aux sociétés primitives, et démontre comment les mythes, les rites, et les interdits autour du corps animal/humain sont toujours à l’œuvre. Nous soutenons les hypothèses d’une image comestible, de l’œil cannibale, de la pulsion scopique au sein d’une œuvre, du regard pulsionnel, voire criminel de l’artiste, de la cruauté de l’être, du dévoilement, de l’image violente (de la femme) et de sa sublimation. Nous regardons comment les différents mécanismes à l’œuvre dans l’image de la femme, à l’instar de la série « Raw Meat », permettent une multitude d’interprétations de la chair, dont les sens vont de notre passé primitif à notre contemporanéité. Notre plaidoyer pour cette polysémie est celle de la nécessité de cette image « vraie » de femme, à l’image de son émancipation. / The research of this thesis focuses upon a series of my artwork in which I utilizeadvertisement photographs taken from local supermarket flyers that depict raw meat. I use these to construct female figures. The research responds to the inquiry: Why are we affected by the image of raw meat; and why are we even more so affected when the images of raw meat compose – or fuse with – the female figure? The origin of the effect this image has on the spectator is targeted as being found within our primitive past; stemming from our relationship with the animal flesh, and thus with the animal itself. We illustrate our profound ties to the animal, including surrounding acts which were an integral part of daily lives in primitive societies. We show how the myths, rites, and taboos, associated with the animal/human body are still at work today. The research supports different hypotheses: the edible image, the cannibal’s eye, the “scopique” impulse within an artwork (relative to the eye), and the criminality of the artist, a being’s cruelty, the unveiling of the body, violent images (of women) and their sublimation. We plead the necessity of this never-been-seen-before, polysemous, “true” image of the female figure whose significance spans from our primitive past to contemporary societies; as one of her emancipation.