This research explores the lives and experiences of female exotic dancers with the aim of gaining an empathic understanding of their involvement in the stripping industry. The stereotypes and generalizations of exotic dancers and the stripping industry undermine the exotic dancer's ability to be seen as an individual with her own story and her own experiences. The participants of this research were selected through convenience sampling and consist of three female exotic dancers. The researcher interviewed the participants using a semi-structured interview format and focused on the dancer's experience within the exotic dancing industry, her family history, her relationships, and personal life. The data was analysed using thematic network analysis. The thematic networks are often contradictory and inconsistent with the common stereotypes and ideas held about exotic dancers. The results indicate that some exotic dancers experience meaning, healing, gratification, and power within their work and live responsible, productive lives. / Psychology / M.A. (Clinical Psychology)

This research explores the lives and experiences of female exotic dancers with the aim of gaining an empathic understanding of their involvement in the stripping industry. The stereotypes and generalizations of exotic dancers and the stripping industry undermine the exotic dancer's ability to be seen as an individual with her own story and her own experiences. The participants of this research were selected through convenience sampling and consist of three female exotic dancers. The researcher interviewed the participants using a semi-structured interview format and focused on the dancer's experience within the exotic dancing industry, her family history, her relationships, and personal life. The data was analysed using thematic network analysis. The thematic networks are often contradictory and inconsistent with the common stereotypes and ideas held about exotic dancers. The results indicate that some exotic dancers experience meaning, healing, gratification, and power within their work and live responsible, productive lives. / Psychology / M.A. (Clinical Psychology)

Submitted by Marlene Santos (marlene.bc.ufg@gmail.com) on 2016-07-26T18:33:53Z No. of bitstreams: 2 Tese - Maristela Carneiro - 2016.pdf: 16401247 bytes, checksum: cf5205ad11c1b846300726287b386db8 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-07-27T15:20:12Z (GMT) No. of bitstreams: 2 Tese - Maristela Carneiro - 2016.pdf: 16401247 bytes, checksum: cf5205ad11c1b846300726287b386db8 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-07-27T15:20:12Z (GMT). No. of bitstreams: 2 Tese - Maristela Carneiro - 2016.pdf: 16401247 bytes, checksum: cf5205ad11c1b846300726287b386db8 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-06-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This thesis investigates the use of nudity and seminudity and the multiple representations of masculinity in the modern funerary art at the city of São Paulo, looking at the collection of sculptures of the Consolação, Araçá and São Paulo cemeteries, situated in São Paulo State Capital, between 1920 and 1950. This work is a result of the doctorate research done for in the post-graduation program in History, at Universidade Federal de Goiás PPGH/UFG, supervised by Professor Dr. Maria Elizia Borges, furthermore by other resources obtained during the Sandwich Doctorate at Facoltà di Architettura dell'Università degli Studi di Napoli “Federico II”, under supervision of Professor Dr. Fábio Mangone. It is questioned which social and cultural aspects symbolize such male images, paying attention to the proper functions of the space of the cemetery, as an architectural object by definition. These are seen through the prism of Art History, allowing the terms – Art and History – to criticize and transform each other, opening disciplinary borders, as well as conceptual and linguistic ones, enabling for the domain of the historian to be modified by interventions of Art. Through the tabulation of male image occurrences, partially or completely naked, is observed that Italian aesthetic premises, especially those of the Novecento, have significant influence over the elaboration of São Paulo funerary art. This sculptures utilize often depictions that highlight sensibility in face of death, as well as the virility associated with work, on the other hand – in other words, there is no single, unchanging discourse on masculinity in the time period investigated. The analysis of the composition of the sculptures allow reconstructing partially the musings of the sculptors and their aesthetic expressivity as well as the meanings of their use of nudity and seminudity in the funerary art of the period. Furthermore, it is poited out that open air cemeteries allow for the exhibition of depictions of a masculinity sensitive and/or virile with greater expressive liberty. In short, these sculptures, as images, are historically localized and at the same time, bearers of a variety of temporalities and spatialities in the foundations, ever permeated by a continuous process of reconfiguration, from both, Past and Present. “Baring” them allows to find vestiges of Italian expression in the Tropical lands. / A presente tese investiga o uso da nudez e da seminudez e as múltiplas representações de masculinidade na arte funerária modernista da cidade de São Paulo, a partir do acervo escultórico dos Cemitérios da Consolação, Araçá e São Paulo, instalados na capital paulista, no período de 1920 a 1950. Resulta do doutoramento junto ao Programa de Pós-Graduação em História, da Universidade Federal de Goiás (PPGH/UFG), sob a orientação da Profª Dra. Maria Elizia Borges, outrossim dos subsídios obtidos quando da realização de período sanduíche na Facoltà di Architettura dell'Università degli Studi di Napoli “Federico II”, sob a tutela do Profº Dr. Fábio Mangone. Questiona-se que aspectos sociais e culturais tais imagens masculinas simbolizam, atentando para as funções próprias do espaço cemiterial, enquanto objeto arquitetônico por definição. As mesmas são tomadas a partir do prisma da história da arte, que permite que os vocábulos em questão – arte e história – possam se criticar e transformar reciprocamente, abrindo as fronteiras disciplinares, conceituais e linguísticas, bem como possibilitando que os domínios do historiador sejam modificados pelas clivagens da arte. A partir do inventário das ocorrências de imagens masculinas, parcial ou completamente despidas, observou-se que os pressupostos estéticos italianos, sobretudo do Novecento, influenciam de modo singular a tessitura da arte funerária paulistana. As esculturas em questão se utilizam de representações que ora destacam a sensibilidade perante a morte, ora deixam em relevo a virilidade em associação ao mundo do trabalho – em outras palavras, não constituem um discurso único e imutável sobre o ser masculino no período investigado. A análise da composição das esculturas permite recuperar parte dos devaneios dos escultores e sua expressividade estética e os significados do uso da nudez e da seminudez corporal na arte funerária. Ademais, evidencia-se que os cemitérios a céu aberto permitem a exposição de representações de uma masculinidade sensível e/ou viril com maior liberdade expressiva. Em síntese, as esculturas em questão, enquanto imagens, são historicamente localizadas e ao mesmo tempo, portadoras de diferentes temporalidades e espacialidades em seus fundamentos, sempre permeadas por um processo contínuo de reconfiguração, tanto do passado quanto do presente. “Desnudálas” permite que se encontrem vestígios da expressão italiana nas terras tropicais.

The subject of this thesis is to analyze the perception of a naked female body in French society of the 2nd half of the 19th century. The work focuses on discovering, highlighting and interpreting the theme of female nudity in artistic works of this period, which provoked strong reactions and influenced contemporary culture. The first part is consecrated to the position of women in the 2nd half of the 19th century society on historical, social and cultural backgrounds and its changes in the ambience of the first wave of the women's movement. The attention is brought to some significant representatives of early feminism and to the goals and innovations these personalities were aiming to achieve. The second part of the thesis describes and analyzes selected works of art on the theme of female nudity. First, it deals with the works of academic painters who were the bearers of traditional artistic ideals and academic rules for displaying naked female body. Their artistic production is nowadays somewhat underestimated. In art history, however, it plays an important role. Therefore, the value of their work for the study of the perception of a naked female body is not omitted. The interest then turns to the Impressionism, the outstanding 2nd half of the 19th century art movement. In the center of...

Böhmová, Z.; Adam and Eve - nudity in Art and what to do with it in art education. [Diploma thesis] Prague 2015 - Charles University, Faculty of education, 106 pages. This thesis is analysing nudity by comparing religious, moral and political documents with perception of everyday reality and artistic portrayal. It follows the changes of paradigm of nudity in European culture since the start of Christianity. The objective of this thesis is to find the roots of connection between nudity and abashment. It finds the origins of finding nudity erotic and its connection with pornography. In the didactic part it tries to introduce this topic into visual arts education, defining this idea throughout artistic activities and comprehension of the changes in perception of naked body in modern painting. With the use of the medium of painting the semiotic character of nudity is being researched as well as the signs that reference nudity.

The enemies are at the gates. Being dazzled by their golden jewels - or perhaps fascinated by their handsome leader - a girl makes a pact with them and betrays her city and her own kin. However, instead of the promised reward, she is killed by her beneficiary. In a particular variant of this story, the girl's name is Tarpeia and the city is Rome, the agreed reward are golden bracelets of the hostile Sabines and the murder weapons are their shields being worn - surprise! - on their left arms together with the jewels. The rendering of this scene in the Roman visual arts is of the primary interest of this thesis. As a particular event linked tightly to the legendary history of Rome, the Punishment of Tarpeia is generally believed to lack any closer iconographic parallels in the Etruscan and Greek arts; sometimes it is even supposed that the traitress is portrayed as a kind of heroic figure, not a negative one. Having analysed the surviving scenes of the Punishment of Tarpeia, I put that opinion into question suggesting they were artificially designed and composed in full accordance with the traditional imagery of the trespassers in the Greek and Etruscan visual arts. To support my assumption, I turn to scrutinize the compositions as well as minor details of contentually related scenes in the Greek and...

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I denna semiotiska analys granskas hur nakenhet i Westworlds första säsong används för att stöda en etablering av androiderna som objekt. Detta görs utifrån en analys av mise-en-scène i två sekvenser av scener där nakenscenen följs av en påklädd sådan. I analysen ses ett samband mellan nakenscenernas science fiction-kodade miljöer och teorier kring en perfekt artificiell kropp, medan de påklädda scenerna visar livfulla och känslosamma ögonblick. Detta resulterar i en nakenhet som inte kan bli osedd och som även förändrar hur tittaren ser på påklädda scener. / This semiotic analysis examines the way nudity in Westworld’s first season is used to support an establishment of the androids as object. This is done through an analysis of mise-en-scène in two sequences of scenes where the nude scene is followed by a clothed one. In the analysis a connection between the nude scenes’ science fiction coded environments and theories about a perfect artificial body can be found, while the clothed scenes show lifeful and emotional moments. This results in a nudity that cannot be unseen and even affects the way the viewer sees clothed scenes.

Dans la sphère publique, la nudité est toujours porteuse de signes. Symbolisant la vulnérabilité dans certains contextes, elle peut représenter la folie, la liberté, le désir de choquer, un appel ardent à être écouté. C’est pourquoi les militantes Femen, mouvement féministe activiste, utilisent leur corps comme principale arme de revendication politique, se mettant en scène les seins nus dans leurs manifestations. Malgré leur visibilité qui s’étend maintenant à l’échelle internationale, leurs méthodes de revendications restent très controversées et suscitent de nombreuses critiques. Mais au-delà de ces critiques, de quoi nous « parle » le mouvement Femen? Que nous dit-il sur notre société d’aujourd’hui, sur ses paradoxes, ses tensions et ses rapports de force? Ce mémoire a pour objectif de répondre à ces questions. Il est structuré comme suit : une première partie porte sur l’historique du mouvement et ses orientations ainsi que sur les principales critiques qui lui sont adressées. Cette section présente également le cadre conceptuel du mémoire qui s’articule autour de cinq grands points : la nudité comme outil de contestation politique, la société de l’image, le corps, l’apparence et la beauté, la «résistance urbaine spectaculaire» et enfin, l’engagement et le désengagement militants. La deuxième partie présente la méthodologie, une démarche de type ethnographique comprenant des entretiens semi-dirigés avec des militantes Femen et avec la fondatrice de la branche québécoise ainsi que de l’observation participante lors d’entrainements et de réunions formelles et informelles du groupe. Finalement, la dernière section présente les résultats du terrain. Ceux-ci mettent en évidence les nombreux paradoxes et contradictions inhérents au mouvement, lesquels nous apparaissent comme un condensé de grandes contradictions de notre société. Une société de l’image et du spectacle, où le corps, celui des femmes en particulier, a acquis une centralité particulière et paradoxale. Une société d’individus « libres » mais adhérant à des standards de beauté stéréotypés. Une société où les « causes », celles de la gauche et du féminisme notamment, ont du mal à s’exprimer de façon cohérente, entre autres parce qu’elles sont traversées de tensions internes où l’individu l’emporte trop souvent sur le collectif. Une société, enfin, où le religieux est imbriqué plus que jamais au politique, venant brouiller davantage les lignes de contestation. / In the public scene, nudity always carried signs. Being a symbol of vulnerability in some contexts, it may also represent the madness, freedom, the desire to shock or even an ardent appeal to be heard in some cases. This is actually the reason why activist feminist Femen movement militants are using their bodies as the main weapon of political demands by featuring themselves breast naked in their events. Despite of the visibility of the movement that now extends internationally; their methods of claims remain highly controversial and are the source of several critical. But beyond all these criticisms, what is the Femen movement telling us? What is it telling us about today’s society, on its paradoxes, its tensions and power struggles? This thesis aims to answer these questions. It is structured as follows: A first part focuses on the history of the movement, its directions and the main criticisms addressed to it. This first part is also presenting the conceptual framework of the thesis that is built around five major points: nudity as political protest tool, the image society, the body, appearance and beauty, the “spectacular urban resistance” and finally, engagement and disengagement activist. The second part presents the methodology; an ethnographic approach including semi-structured interviews with Femen activist and founder of the Quebec branch as well as the participant observation during formal and informal trainings and meetings of the group. Finally, the last section presents the results of the field. These highlight the many paradoxes and contradictions inherent in the movement, which we appear as an overview of some of the big contradictions of our society. A society of image and show. Where body, especially women’s body has gained a particular and paradoxical centrality. A society of ‘’free’’ individuals who adhere to stereotypical standards. A society in which "causes", those on the left and feminism in particular, are struggling to speak coherently, in part because of internal tensions crossings where the individual prevails too often on the collective. A society where religion is nested more than ever, blurring once again the protest lines.

To use sexual messages in advertisements are becoming more common by each day, it is known as a method that can be highly effective to influence consumers’ attitudes. However, it is important to carefully consider how the appeal is used as high levels of sexual appeal can be perceived as unethical or offensive to consumers. Several factors are influential on consumers’ attitudes to sexual appeal in advertising. The focus of this study is laid upon the following five factors when it comes to sexual appeal in advertising: level of nudity, gender of the consumer, gender of the model, culture and personality of the consumer.  This thesis examines how young consumers from Canada, Hong Kong and Sweden in the age span between 18–24 years differ in their attitude toward sexual advertisement, connected to the previous mentioned factors. This was done by concluding semi-structured interviews with male and female students from each nation, where they expressed their opinions about sexual commercials. It was found that female participants had a moral dilemma when it came to high levels of sexual appeal. Some of the male respondents were found to be uncomfortable when being exposed to high levels of male nudity, which could be neutralized by including a female model. Furthermore it was found that the personality of the respondent affected how he or she reacted to the shown advertisement.  The findings of this study could be of good use to marketers and advertisers as they do not need to adapt their advertisements to each geographical market to the same extent as it possibly was believed before, as long the targeted group consists of younger consumers. / Användandet av sexuella meddelanden i reklam blir mer och mer populärt varje dag, denna marknadsföringsmetod är väldigt effektiv när det kommer till att påverka konsumenters attityder. Det är dock väldigt viktigt att ta hänsyn till hur det används då höga nivåer av sexuellt innehåll kan uppfattas som oetiskt eller kränkande bland konsumenter. Ett flertal faktorer påverkar konsumenters attityder till sexuell reklam. Denna studie fokuserar på följande fem faktorer när det kommer till sexuell reklam: nakenhetsnivå konsumentens kön, modellens kön, kultur och konsumentens personlighet. Denna uppsats utvärderar hur unga konsumenter från Kanada, Hong Kong och Sverige i åldersspannet 18–24 år varierar i sina attityder till sexuell reklam, kopplat till tidigare nämnda faktorer. Detta möjliggjordes genom semistrukturerade intervjuer med manliga och kvinnliga studenter från varje land, där de uttryckte sina åsikter om sexuella reklambilder. Studien resulterade i att de kvinnliga respondenterna hade ett moraliskt dilemma när det kom till höga nivåer av sexuell reklam. En del av de manliga respondenterna blev obekväma när de exponerades för höga nivåer av manlig nakenhet, vilket kunde neutraliseras av att inkludera en kvinnlig modell. Studien fann även att respondentens personlighet påverkade hur han eller hon reagerade mot den visade reklamen. Resultaten av denna studie kan komma till god användning för marknadsförare och annonsörer då de som tidigare trott, inte behöver anpassa sina reklamer till varje geografisk marknad, så länge som den tilltänkta kundgruppen består av unga konsumenter.