In relation to the women¡¦s consumption gradually increasing, the female consumption market is becoming larger than before. In the current media, definitions of beauty image created by the media has become the standards of self-examination, it even has great influences on female consumption preference. Thus, this study aims to investigate what kind of female image the female beauty TV program represents¡H What is the relationship between the female images represented by female beauty TV program and the cognition of beauty of female audiences? And what affects the level of exposure in TV program and the life style of the female consumers influence has on the female audiences¡¦ cognition of beauty¡H This primary research expects to describe the relationship between the female images shaped by TV medias and the cognition of beauty of female audiences. Since the start of female beauty program Queen in TVBS-G on TV, there have been many fashion programs like Beautyplan, Beautyworld in CTITV, E-line secret garden in GTV, and Perfect beauty in FTV following in Taiwan. This research is going to discuss whether these fashion programs will lead to the myth of beauty for female consumers. And does the female image built by the TV media influence the purchasing preference of female cosmetic. All of these are issues this study will be discussing. This study applied the methodology of quantitative content analysis approach and internet questionnaire survey. First, it analyzes the content of the female beauty program during Jan,2005 to Jul,2007 and focuses on the female internet users whose ages are between 15 and 45. Then, these internet questionnaires are divided into four parts, including heavy viewers, light viewers, high involvement, and low involvement. According to the compared analysis of the group samples, it aims to acquire an understanding of the viewpoints of female image and the differences of consumption preference, after female consumers watched the fashion programs. In terms of the outcomes of the research, it shows the between the participants of heavy/light viewers, high/low involvement and different lifestyle, there are obviously differences in the cognition of beauty. Therefore, the exposure of the fashion program, involvement and lifestyle make a huge impact on the cognition of beauty. Besides this, the difference of high/low involvement and the lifestyle of the participants will influence the consumption preference of the audiences, but there are no apparent differences for the consumption preference between the different participants of heavy/light viewers.

Esta investigación analizará el uso de los arquetipos que perciben las mujeres en los mensajes publicitarios que construyen la identidad de marca y empoderamiento de la mujer. La publicidad representaba una imagen sesgada de la mujer la cual fomentaba prejuicios y estereotipos. Sin embargo, este pensamiento cambió con los años llegando presentar a una mujer que puede ser ama de casa, profesional y hermosa sin maquillaje como se representa en las campañas de Dove. Este cambio es por el uso de los arquetipos que representan los pensamientos del inconsciente colectivo que construyen la identidad de marca para darles un valor único y fomenten el empoderamiento de la mujer. El objetivo general es analizar la relación de la percepción de los arquetipos en la publicidad de Dove con el empoderamiento de mujer y la identidad de marca. La metodología es cualitativa, la investigación es exploratoria y las técnicas usadas son focus group y entrevistas personales. Por último, el público objetivo son mujeres de 20 a 25 años de NSE A y B que viven en Lima Metropolitana. Palabras clave: Arquetipo, identidad de marca, empoderamiento de la mujer, imagen femenina en la publicidad, Dove. / This research will analyze the use of the archetypes that women perceive in the advertising messages that build the brand identity and empowerment of women. The publicity represented a biased image of women which fostered prejudices and stereotypes. However, this thought changed with the years coming to present a woman who can be housewife, professional and beautiful without makeup as represented in Dove campaigns. This change is due to the use of the archetypes that represent the thoughts of the collective unconscious that build the brand identity to give them a unique value and promote the empowerment of women. The general objective is to analyze the relationship of the perception of the archetypes in Dove advertising with the empowerment of women and brand identity. The methodology is qualitative, the research is exploratory and the techniques used are focus group and personal interviews. Finally, the target audience is women from 20 to 25 years of NSE A y B who live in Metropolitan Lima. / Trabajo de investigación

Submitted by Marlene Santos (marlene.bc.ufg@gmail.com) on 2014-09-24T17:41:45Z No. of bitstreams: 2 A MULHER (TRANS) FORMADA NA FICÇÃO DE FERNANDA YOUNG.pdf: 1213990 bytes, checksum: 63bfa921536811419f82058956ae2165 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Rejected by Cláudia Bueno (claudiamoura18@gmail.com), reason: Artigo publicado anteriormente: Sim ( não a dissertação não foi publicada) teremos que indicar artigo/Tese/dissertação. O item é composto por mais de um arquivo: Sim ( não, o arquivo não foi dividido) on 2014-09-24T20:10:23Z (GMT) / Submitted by Marlene Santos (marlene.bc.ufg@gmail.com) on 2014-09-24T20:16:04Z No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) A MULHER (TRANS) FORMADA NA FICÇÃO DE FERNANDA YOUNG.pdf: 1213990 bytes, checksum: 63bfa921536811419f82058956ae2165 (MD5) / Approved for entry into archive by Cláudia Bueno (claudiamoura18@gmail.com) on 2014-09-28T02:21:00Z (GMT) No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) A MULHER (TRANS) FORMADA NA FICÇÃO DE FERNANDA YOUNG.pdf: 1213990 bytes, checksum: 63bfa921536811419f82058956ae2165 (MD5) / Made available in DSpace on 2014-09-28T02:21:00Z (GMT). No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) A MULHER (TRANS) FORMADA NA FICÇÃO DE FERNANDA YOUNG.pdf: 1213990 bytes, checksum: 63bfa921536811419f82058956ae2165 (MD5) Previous issue date: 2014-04-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research is grounded in the persperctive of the body, the eroticism and female identity are elements visibly associated with literature. Specifically, in Western context, the female image has always been associated with beauty, grace, youth of a perfect and sexy body which does not allow defects or variations. In contemporary times the body cult especially, the female has become a fashion requirement that guided by midia ordains a pattern of body aesthetics based on thinness for women to follow in order to attend a consumer market each increasingly demanding. It is considered that the individual is materialized by the body and his identity that is formed from habits, customs, tradition, value and belief of a people, a society in relation to itself. From the experience and individual contact with these values it happens his identity formation. We propose to realize a body study, eroticism and identity into A sombra das asas (1997) by contemporary writer Fernanda Young from Rio de Janeiro, because it contains favorable elements to this discussion. In this novel, the protagonist does not mold within the aesthetic standards dictated by current fashion, that leads her to resort to plastic surgery innovations to transform her body to the required model by contemporary standards in order to perform a vengeance causing herself an identity crisis. To do so, we search on David Le Breton (2003); Denise Bernuzzi de Sant‟Anna (2001); Gilles Lipovestsky (2004); Stuart Hall (2004); Georges Vigarello (2006) e Joana Vilhena de Novaes (2013). These ones and other authors were also researched to discussion. / A presente pesquisa está assentada na perspectiva de que o corpo, o erotismo e a identidade feminina são elementos visivelmente associados à literatura. Especificamente, em contexto ocidental, a imagem feminina sempre esteve associada à beleza, à graça, à juventude de um corpo perfeito e sensual, para o qual não se permite defeitos ou variações. Na contemporaneidade, o culto do corpo, em especial, o feminino, tornou-se uma exigência da moda que, guiada pela mídia, dita um padrão de estética corporal fundamentado na magreza para as mulheres seguirem, no sentido de atenderem a um mercado consumidor cada vez mais exigente. Considera-se que o indivíduo é materializado pelo corpo e sua identidade é formada a partir de hábitos, costumes, tradições, valores e crenças de uma sociedade em relação ao mesmo. A partir da vivência e do contato do indivíduo com esses valores é que acontece a formação de sua identidade. Propomos realizar um estudo do corpo, do erotismo e da identidade no romance A sombra das vossas asas (1997) da escritora carioca contemporânea Fernanda Young, uma vez que ele contém os elementos favoráveis a essa discussão. Neste romance, a protagonista não se enquadra nos padrões estéticos ditados pela moda atual, o que a leva a recorrer às inovações da cirurgia plástica para transformar seu corpo ao modelo exigido pelos padrões contemporâneos de beleza, a fim de realizar uma vingança, o que lhe causa uma crise de identidade. Para tanto, acionamos os aportes em David Le Breton (2003), Denise Bernuzzi de Sant‟Anna (2001); Gilles Lipovestsky (2004) Stuart Hall (2004); Georges Vigarello (2006); Joana Vilhena de Novaes (2013). Esses e demais outros autores foram acionados para compor esta discussão.

[ES] Esta tesis sondea los estereotipos y apropiaciones alrededor de la figura femenina en el arte, con énfasis en la pintura contemporánea occidental. La figura femenina se analiza desde la religión, la mitología y la literatura, pero también a través de la idea de una cultura sobreexcitada en lo tecnológico-publicitario y en lo estético, donde el cuerpo femenino ha sido constantemente provisto de un contenido erótico. Analizamos la manera como se ha enseñado "la figura humana" en general y "la figura femenina" en las academias de Bellas Artes desde el caso que conocemos en la ciudad de Bucaramanga. Revisamos las olas y corrientes feministas para aproximarnos a este piso conceptual, acercándonos también al feminismo en el contexto colombiano. Analizamos las posibilidades de apropiación como método creativo. Mostramos que estos estereotipos fueron protagonistas en las obras de muchos artistas del siglo XIX y la primera mitad del siglo XX, y que su origen se remonta a las mitologías, a las figuras bíblicas y a personajes literarios e históricos, entre otros. Indagamos en las formas de ver la figura femenina en el contexto sociocultural colombiano, primero abordando algunos estereotipos del ámbito local, y luego analizando un producto publicitario que se inserta en el cotidiano social y en la forma de percibir el cuerpo de la mujer como objeto de consumo en la publicidad cervecera. También nos aproximamos al tema "Mujer, paisaje y cultura, enfoques sobre la figura femenina", a través de la obra de tres artistas colombianos. En la última parte de la tesis, abordamos la proyección del dolor en la figura femenina a través de la aportación personal, primero, con algunos antecedentes en el entorno colombiano, luego, con algunas experiencias pictóricas acerca del dolor propio, recordando la muerte de Kelly Estefanía y otros duelos. Finalmente, damos cuenta del proceso y el resultado de comisariados y exposiciones hechas en Bucaramanga: la exposición individual Estereotipos femeninos, realizada en el Museo de Arte Moderno de Bucaramanga, el comisariado Iconografías femeninas, con artistas de España, México y Colombia, y el comisariado Mujeres en cuerpo y alma, con estudiantes, egresados y una profesora del programa de Artes Plásticas de la Universidad Industrial de Santander, estos últimos realizados en la Sala de exposiciones Macaregua de la UIS. La metodología de esta investigación se basa en técnicas cualitativas como las entrevistas, las revisiones y análisis de obras artísticas, y la actividad de inmersión y participación que brinda la tarea del comisariado y la exposición de obras propias. Por lo tanto, la metodología atenderá a la especificidad de las prácticas artísticas. Concluimos señalando la posición que asumen los artistas que participaron en los comisariados y las exposiciones Iconografías femeninas y Mujeres en cuerpo y alma sobre el tema de las mujeres, con una clarísima intención de asumir responsabilidades al elegir sus enfoques conceptuales y el modo de materializar las imágenes, objetos o acciones. También evidenciamos su convicción de que los asuntos de violencia de género, de igualdad de derechos y de narrativas autobiográficas son de interés mundial, y que apuntan al desmonte de estereotipos. / [CA] La tesi sondeja els estereotips i apropiacions al voltant de la figura femenina en l'art, amb èmfasi en la pintura contemporània occidental. La figura femenina s'analitza des de la religió, la mitologia i la literatura, però també a través de la idea d'una cultura sobre excitada en el tecnològic-publicitari i en l'estètic, on el cos femení ha sigut constantment, proveït d'un contingut eròtic. Ens situarem primer en una breu anàlisi sobre la manera com s'ha ensenyat "la figura humana" en general i "la figura femenina" en les acadèmies de Belles arts des del cas que coneixem a la ciutat de Bucaramanga. Revisarem les ones i corrents feministes per a tindre un reconeixement d'aquest pis conceptual, acostant- nos també al feminisme en el tapís colombià. Analitzem les possibilitats d'apropiació com a mètode creatiu. Veurem que aquests estereotips van ser protagonistes en les obres de molts artistes del segle XIX i la primera meitat del segle XX, i que el seu origen es remunta a les mitologies, a les figures bíbliques, i a personatges literaris i històrics, entre altres. D'altra banda, indaguem en les maneres de veure la figura femenina en el context soci cultural colombià, primer abordant alguns estereotips de l'àmbit local, i després analitzant un cas de producte publicitari que s'insereix en el quotidià social i en la manera de percebre el cos de la dona com a objecte de consum en la publicitat cervesera. Fem també una aproximació al tema "Dona, paisatge i cultura, enfocaments sobre la figura femenina", mitjançant l'obra de tres artistes colombians. En l'última part de la tesi, abordem la projecció del dolor en la figura femenina a través de l'aportació personal, primer amb alguns antecedents en l'entorn colombià, després amb algunes experiències pictòriques sobre el dolor propi recordant la mort de Kelly Estefanía, i altres pintures de duel. Finalment, donem compte del procés i el resultat de comissariats i exposicions que realitzem en Bucaramanga: l'exposició individual "Estereotips femenins", realitzada en el Museu d'Art Modern de Bucaramanga, el comissariat "Iconografies femenines", amb artistes d'Espanya, Mèxic i Colòmbia, i el comissariat "Dones en cos i ànima", amb estudiants, egressats i una professora del programa d'Arts Plàstiques de la Universitat Industrial de Santander, aquests últims realitzats a la Sala d'exposicions Macaregua de la UIS. La metodologia d'aquesta investigació es basa en tècniques qualitatives com les entrevistes, les revisions i anàlisis d'obres artístiques, i l'activitat d'immersió i participació que brinda la tasca del comissariat i l'exposició d'obres pròpies. Per tant, la metodologia atendrà l'especificitat de les pràctiques artístiques. Es conclou assenyalant la manera com els artistes que van participar en els comissariats i les exposicions Iconografies femenines i Dones en cos i ànima prenen posició en les seues obres sobre el tema de les dones, amb una claríssima intenció d'assumir responsabilitats en triar els seus enfocaments conceptuals i la manera de materialitzar les imatges, objectes o accions. També s'evidencia la seua convicció que els assumptes de violència de gènere, d'igualtat de drets i de narratives autobiogràfiques són d'interés mundial, i que apunten al desmunt d'estereotips. / [EN] The thesis probes stereotypes and appropriations around the female figure in art, with emphasis on contemporary Western painting. The female figure is analyzed from religion, mythology and literature, but also through the idea of an overexcited culture in technology-advertising and aesthetics, where the female body has been constantly, provided with an erotic content. We will first place ourselves in a brief analysis of the way in which "the human figure" in general, and "the female figure", has been taught in the academies of Fine Arts from the case that we know in the city of Bucaramanga. We will review the feminist waves and currents to have a recognition of this conceptual floor, also approaching feminism in the Colombian tapestry. We analyze the possibilities of appropriation as a creative method. We will see that these stereotypes were protagonists in the works of many artists of the 19th century and the first half of the 20th century, and that their origin dates back to mythologies, biblical figures, and literary and historical figures, among others, and that their origin dates back to mythologies, biblical figures, and literary and historical figures, among others. We investigate the ways of seeing the female figure in the Colombian sociocultural context, first addressing some stereotypes of the local sphere, and then analyzing a case of an advertising product that is inserted in the social daily life and in the way of perceiving the body of women as an object of consumption in beer advertising. We also make an approach to the theme "Women, landscape and culture, approaches to the female figure", through the work of three Colombian artists. In the last part of the thesis, we address the projection of pain in the female figure through personal contribution, first with some antecedents in the Colombian environment, then with some pictorial experiences about one's own pain, remembering the death of Kelly Estefania, and other paintings of mourning. Finally, we account for the process and result of curatorships and exhibitions that we carry out in Bucaramanga: the solo exhibition "Female Stereotypes", held at the Museum of Modern Art in Bucaramanga, the curatorship "Feminine Iconographies", with artists from Spain, Mexico and Colombia, and the curatorship "Women in Body and Soul", with students, graduates and a professor from the Plastic Arts program of the Industrial University of Santander, the latter held in the Macaregua Exhibition Hall of the UIS. The methodology of this research is based on qualitative techniques such as interviews, reviews and analysis of artistic works, and the immersion and participation activity offered by the task of curating and exhibiting one's own works. Therefore, the methodology will attend to the specificity of artistic practices. It concludes by pointing out the way in which the artists who participated in the curatorships and the exhibitions "Feminine iconographies" and "Women in body and soul" take a position in their works on the subject of women, with a very clear intention of assuming responsibilities when choosing their conceptual approaches and the way of materializing images, objects or actions. Their conviction is also evidenced that issues of gender violence, equal rights and autobiographical narratives are of global interest, and that they point to the dismantling of stereotypes. / Toloza Hernández, JG. (2022). Apropiaciones y usos de la figura femenina en la pintura contemporánea. Un estudio a partir de pinturas y muestras propias [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/181950