Avant-garde Style Research Articles

Design Aesthetics and Visual Metaphor in Theworks of Tasim Sing Take Falling In, as an Example

Falling In reveals the director's bold and avant-garde style in many ways.Tasim Sing has etched his personal mark on the film in an extremely thorough manner. As per the formula, the imaginary world constructed by the human brain overlaps with the real world to create the most bizarre and uninhibited imaginative space. Bright images also continue in the film. The film features a visual masterpiece, but the visual feast it presents is still different from the so-called commercial blockbuster scenes, and it is as different as one is a realistic oil painting with thick colour, and the other is a colourful surrealist watercolour.

Leadership and Organizational Commitment in Public Universities of Tungurahua Province - Republic of Ecuador

Introduction: leadership in organizations is continuously studied, always in search of new models that can adapt to organizational processes with greater flexibility, a reality that obliges organizations to adapt to avant-garde styles to promote organizational commitment. Objective: to explain the relationship between leadership and organizational commitment in public universities of the provincial government of Tungurahua - Republic of Ecuador. Methods: it is an explanatory research, embedded in the positivist paradigm, with a quantitative approach. The research design is field-based, transactional, and non-experimental. As a technique for gathering information, a Likert scale questionnaire was designed, with two parts for estimating leadership styles and organizational commitment, comprising a total of 80 items. The same instrument was validated through expert judgment, applied in a pilot test to 20 subjects with characteristics similar to the study population, obtaining reliability through Cronbach's alpha of 0,910. The collected information underwent processing and analysis through descriptive and inferential statistical methods. The results showed a moderate presence of laissez-faire leadership styles with a mean of 2,76 and democratic leadership with a mean of 2,11. Results: regarding organizational commitment, there was a slight estimation with a mean of 1,93; within the analysis, a high correlation of (0,635**) was obtained, highlighting transformational leadership and organizational commitment. Conclusions: the factors of leadership influencing organizational commitment in public universities of the province of Tungurahua - Republic of Ecuador were determined. In this sense, it was determined that leadership style influences commitment within the organization with a strong correlation. It was established that promoting this type of leadership should continue through managerial guidelines that strengthen organizational commitment

Leadership and organizational commitment in public universities of tungurahua province - republic of ecuador

Introduction: Leadership in organizations is continuously studied, always in search of new models that can adapt to organizational processes with greater flexibility, a reality that obliges organizations to adapt to avant-garde styles to promote organizational commitment.Objective: To explain the relationship between leadership and organizational commitment in public universities of the provincial government of Tungurahua - Republic of Ecuador.Methods: It is an explanatory research, embedded in the positivist paradigm, with a quantitative approach. The research design is field-based, transactional, and non-experimental. As a technique for gathering information, a Likert scale questionnaire was designed, with two parts for estimating leadership styles and organizational commitment, comprising a total of 80 items. The same instrument was validated through expert judgment, applied in a pilot test to 20 subjects with characteristics similar to the study population, obtaining reliability through Cronbach's alpha of 0.910. The collected information underwent processing and analysis through descriptive and inferential statistical methods. The results showed a moderate presence of laissez-faire leadership styles with a mean of 2.76 and democratic leadership with a mean of 2.11.Results: Regarding organizational commitment, there was a slight estimation with a mean of 1.93; within the analysis, a high correlation of (0.635**) was obtained, highlighting transformational leadership and organizational commitment.Conclusions: The factors of leadership influencing organizational commitment in public universities of the province of Tungurahua - Republic of Ecuador were determined. In this sense, it was determined that leadership style influences commitment within the organization with a strong correlation.It was established that promoting this type of leadership should continue through managerial guidelines that strengthen organizational commitment.

The Inheritance and Development of Traditional Chinese Flower Arrangement Art

Influenced by the world's modern art trends, especially abstract paintings and abstract sculptures, the style and techniques of modern flower arrangement have made major breakthroughs, and a hundred flowers are blooming. Free style, abstract style, avant-garde style and various large-scale floral arrangements express the aesthetic taste and ideas of contemporary people. Flower arrangement is developing towards floral content, commercialization and practicality. "From classical to modern" and "from tradition to innovation" are the slogans of today's flower arrangement circle. Modern floral art can reinterpret traditional classical art with novel techniques and concepts, which is the development trend of flower arrangement art education. The value and significance of traditional Chinese flower arrangement art in the new era, the inheritance and development of traditional Chinese flower arrangement art, etc. are explored and explored, and thoughts are put forward on the intangible inheritance, development and promotion of traditional Chinese flower arrangement art.

John Cage and the aesthetic pedagogy of chance & silence

The composer, author, and teacher, John Cage, was exercised by our ‘inability’ to truly listen when approaching sound. In exploring the influences on Cage’s avant-garde style, specifically the spiritual discipline found in both Zen Buddhism and Chance operations, this paper attempts to distinguish his philosophy (and use) of silence and chance as an aesthetic pedagogy. In accordance with Dewey’s aesthetic theory and Shusterman’s Somaesthetics, resolving the inability to listen is aesthetically conceived as somatic ‘attuning’ to the occurrence of chance sounds in the ambience of the world. By maintaining Cage’s spiritually informed approach as a compositional framework, this paper highlights how his philosophy of silence is pedagogically illustrative of the active engagement we can have with the world. This approach is most apparent in Cage’s 4’33”, where the ‘musicalizing’ of everyday sounds erodes the boundaries between art and life, creating a continuity with the world. Somewhat problematically, Cage attempted to make this possible by channelling experience into a state of immersion, unifying art and life by ‘letting go’ of subjectivity. But as is shown by the Fluxus artists who were inspired by Cage’s teachings, the possibility for negotiating Cage’s terms brings with it an opportunity to theoretically reflect on the educational processes that underpin Cage’s approach to sound.

ARCHITECTURE OF AVANT-GARDE IN UKRAINE IN 1921-1939: ORIGINS, WAYS OF SPREADING, MAIN FEATURES

The heritage of the architectural Avant-garde in Ukraine, formed in the interwar period (1921-1939), is large-scale in the number of objects and diverse in their typology, techniques and forms of expression of modern architectural ideas. Volyn – a historical Ukraine region that, at that time, was part of Poland (the Second Polish Republic) – plays a special role in this context. To date, the region has preserved a significant array of objects that demonstrate the specifics of the interpretation of European and Polish Avant-garde concepts. The article attempts to analyze the architectural context, ways of spreading and formation features of the architectural image of residential and public buildings as part of the European heritage of Interwar Modernism. Lack of professional evaluation and recognition of the objects’ value leads to their gradual degradation, reconstruction or destruction. Methods of comparative and stylistic analysis, archival research and field surveys of architectural objects were used in this research. The study showed that the spread of the Avant-Garde style in the architecture of Volyn was significantly delayed compared to similar processes in the architecture of Western Europe and Poland and reached its peak at the end of the interwar period. The use of formative techniques of Avant-Garde architecture in housing construction became an identifier and symbol of the social prestige of certain social groups. The design of public buildings reflected Volyn’s rapid social modernization.

Classics of Polish Design. Polish avant-garde Bauhaus style furniture from the interwar period

Classics of Polish Design. Polish avant-garde Bauhaus style furniture from the interwar period presents a review of the best Polish furniture designs from the 1920s and 1930s. In spite of the inspirations with historicism popular in the interwar period and the references to folk culture (e.g., the "Ład" Artists' Cooperative), Polish designers also drew inspiration from the works of the following artists: Le Corbusier, Marcel Breuer, Mies van der Rohe and Mart Stam, who designed avant-garde furniture made of metal pipes. The paper presents little known works of Polish artists from the groups "Praesens", "Atelier wnętrz i architektury" (The Atelier of Interiors and Architecture), "Studium wnętrz i sprzętu" (Studio of Interiors and Equipment), as well as furniture designs referring to the Bauhaus style for private and public interiors (including designs for transatlantics or the President's Castle in Wisła), among others, manufactured by the Thonet-Mundus company. The paper continues the series devoted to the "Classics of Polish Design", presenting the results of research on Polish furniture, carried out within the framework of dissertations in the Department of Wood Technology in the Warsaw University of Life Sciences (SGGW).

Historical accidental font in the works of artists of the "Culture League"

The subject of the study is the historical accidental font used in the works of members of the Jewish art organization. "Culture League".The object of the study is the accidental font as an instrument of semantic and stylistic definition of these works within the framework of Jewish culture. The research uses methods of analysis of visual symbols in the works of members of the art section of the "Culture League" and their semantics, methods of synthesis and historicism in the formulation of the definition of historical accidental font. On the basis of the studied works of A. G. Shitsgal, T. O. Ivanenko, V. I. Lesnyak, the definition of historical accidental font is formulated; on the basis of the works of A. Amishai-Maisels, G. Kazovsky, B. Khaimovich, the prerequisites for the emergence of the Jewish artistic avant-garde and the foundation of the association "Culture League" are determined; works on avant-garde stylistics and semiotics of Jewish art by I. A. Sergeeva, O. A. Lagutenko, E. Frenkel made it possible to carry out a semantic and stylistic analysis of the accidental font in the works of artists of the "Culture League". The main conclusions of the study are: 1. The historical accidental font is a marker of a certain epoch and ethno-national culture. Its application allows artists to convey at the semiotic level not only the verbal meaning of the text, but also to expand its meaning to a global, socio-cultural level. 2. The Jewish association "Kulturliga" was part of the global artistic avant-garde of the first third of the twentieth century. The main goal and program of the association was the development of Jewish culture using new stylistic methods in the spirit of the times, with the use of avant-garde styles. The accidental Jewish traditional font was a clear indication that the work belonged to the Jewish branch of the artistic avant-garde. A special contribution of the authors is the formulation of the definition of "historical accidental font". For the first time, the authors analyzed the use of accidental font in the works of artists of the "Culture League". Keywords: historical accidental font, "Culture League", avant-garde, cubo-futurism, expressionism, Jewish shtetl.

From Shulhoyf to Montparnasse: Cultural Collage in Moshé Vorobeichic's Photography Book The Ghetto Lane in Wilna (1931)

This article discusses the artistic genesis of the first avantgarde photography book in Lithuanian art history, The Ghetto Lane in Wilna (1931) by Moshé Vorobeichic-Moï Ver (Moshe Raviv, 1904–1995), and aims to conduct the first in-depth reconstruction of Vorobeichic’s early biographical and creative period in Vilnius in the 1920s in the local Jewish and multicultural milieu. The research is based on archival materials from Lithuanian state archives and the Raviv family archives in Israel. Vorobeichic, who was born in 1904 in Zaskavichy (currently in Belarus), made his artistic debut in Vilnius in 1923, and studied at the Faculty of Fine Art at Stephen Bathory University from 1923 to 1925. He continued his art studies at the Bauhaus school in Dessau (1927 to 1929) and, from 1929 in Paris at the École Technique de Photographie et de Cinématographie. From 1930 onwards, the photographer used the artistic pseudonym Moï Ver, under which his avant-garde photography book Paris, hailed as a masterpiece of the genre, was published by Editions Jeanne Walter in 1931. During the same period, Vorobeichic participated in Jewish cultural life in Vilnius, and was involved in the early stages of the formation of Yung Vilne, the acclaimed literary and artistic group of interwar Yiddish Modernism. The article aims to identify the cultural contexts in which Moï Ver’s artistic world-view and avant-garde style started to develop. The reconstruction of these contexts makes it possible to identify new semantic aspects in his avant-garde photography book The Ghetto Lane in Wilna, and to rethink its artistic concept. In this way, the cross-cultural semantics of Moï Ver’s photographic collages of Jewish Vilnius will emerge.

Kazimir Malevich in Avant-Garde Discussions in 1928–1930

The article is devoted to the figure of Kazimir Malevich as an artist and art critic, who introduced new tendencies and approaches to the depiction of objects into traditional art; representation of the artist in avant-garde discussions in the period of his teaching at the Kyiv Art Institute in 1928–1930; searches and experiments of the artist, which were closely connected with the feeling of modernity and new impulses in culture. Malevich’s activity on creation of a unique history of art of Modernism is revealed. It is shown that the scientific controversy between artists over traditional approaches and pictorial methods acted as a catalyst for the development of a new direction in modern art. Discussions between Kazimir Malevich and Mykhailo Boichuk became fundamental for an artistic discussion which continues among contemporary artists and art critics. The artist based his work on objectlessness, which became a method of interpreting art. In this way, he shifted the emphasis from defining the content to defining the form, the very essence of art. Being a theorist, Kazimir Malevich discovered the patterns of development of art form, explaining the importance and sequence of emergence of each new direction: Suprematism, Cubism, Cubofuturism. Artistic discussions with contemporaries were of great importance. Malevich’s ideas continued to spread thanks to students and like-minded people who developed them and developed new approaches to painting techniques. The experience embodied by the artist at the Kyiv Art Institute showed the peculiarity of the artistic space that was formed in Kyiv in the late 1920s. Kazimir Malevich’s ideas are a promising scientific research for both historians and art historians as they show new facets of the avant-garde style.

The Marchesa Casati as Fashion Plate and Fashion Muse

The Marchesa Luisa Casati has become a perennial muse of fashion designers in recent decades, from haute couture to High Street brands. Collections inspired by the Marchesa link to her background and the history of the spaces that she inhabited. Casati was born in Italy but lived and traveled between France, Italy and Britain, among other countries, where the cachet of her name has been combined with that of the fashion houses citing her as an inspiration. Despite her enduring reputation as an avant-garde style icon and a singular dresser who was just as likely to wear elaborate costumes as nothing at all, her engagement with fashion was not always as visibly eccentric as her posthumous impact suggests. Nor was it strictly within the binary of fashion and “anti-fashion”. Casati was at once a “disruptive” body and a conventionally stylish one. Popular memory has focused on the more “spectacular” and stylized elements of her esthetic. Archival evidence and artistic representation demonstrate how Casati constructed a wardrobe that melded the conventional and shocking, and how fashion played a role in the emergence of her chimerical public persona.

Borrowed and Original Techniques in the Trio by Leonid Hrabovsky

Relevance of the study. During several years that preceded the creation of the Trio (1964), Leonid Hrabovsky wrote many other works in various genres and forms, ranging from suites and a sonata for solo instruments, a song cycle, and a cappella choruses, to large-scale compositions for orchestra and for mixed choir with orchestra, and even two one-act operas (piano scores). The composer’s stylistic priorities had been rapidly and strikingly evolving from “social realism with a human face” as evident in the Four Ukrainian Songs, towards a much more radical “sharp” expressionism and constructivism. This evolution caused the necessary changes in the techniques utilized by the composer. Hrabovsky was deeply impressed by the article Genealogia nowej muzyki (Genealogy of the new music) of the Polish musicologist Tadeusz Zieliński that was published in the magazine Ruch muzyczny, n. 20–21, 1963. Zieliński stated that, after historical periods of monody, polyphony and functional harmony, a new sonoric and timbral era had come. These ideas inspired Hrabovsky to move towards the radical avant-garde.
 The object of this research is the Trio by Leonid Hrabovsky.
 The purpose of the study is to reveal the inherent features that differentiate the piece from other avant-garde works of the early 1960s.
 Methods of research include technical analysis of the musical form and its dependence upon the pitch organization of the work, as well as comparative analysis.
 The results and conclusions. Being composed during several days in the spring of 1964, Trio became the first piece of Hrabovsky’s written in a definitely avant-garde style. It was premiered in 1966 and since then has become one of the composer’s most frequently performed works. The reason for such a success lies in the original concept of the piece that essentially differs from the other avant-garde works of that time. When discussing Trio, Hrabovsky always stresses the influence of the Polish avant-garde music attracting him during that period. Indeed, he borrowed a lot of devices from Miniatures for violin and piano by Krzysztof Penderecki, a score Hrabovsky knew and studied at that time. However, a comparative analysis of the two works reveals serious differences between them. While Penderecki operated with purely timbral (sonoric) objects and did not pay special attention to the pitch organization, Hrabovsky composed almost a classical three movement suite with the first movement in a ternary form and the last movement in the binary form. The classical principles of the pitch organization and the distribution of the pitch structures in Trio are similar to those in tonal music. These principles have been unusually applied to the sound material that has nothing in common with tonality. A combination of the traditional and new approaches to the form provided Hrabovsky’s Trio with unique qualities which made it not only an interesting artifact of the avant-garde period but one of the most valuable and artistically perfect works in the Ukrainian chamber music.

Phenomenon of musicality in expressiveness of V. Kandinskyi canvases

The radicalism of the picturesque aspirations of modern and avant-garde style was fed by overcoming the statics of this art form and the subject specify of the expression. Ideal and temporary nature of the music presented the source of this sort expressiveness, which to the ful was used by V. Kandinskiy. His music preparation, subsequently friendship with A. Schoenberg promoted the corresponding to creative choice, which he has done the declaration of the abstract art and projection music sign to compositions and acceptance in graphic sphere. Kandinskiy rested in achievements post-impressionism – post-symbolism, in which are presented “washed away” in scene, not clearly given image. The music elements painting Kandinskiy realized as independence of the colour and symbolic elements in compositions. In this work is made analysis of linen “Composition II”, “Improvisation 8” and “Improvisation IV”. It is attention to symbology Roman and Arabic numerals, presented in name, which put into composition of the picturesque linen to associations with conditional image types of the music sound. The special accent is made on analogy of the symmetries of the distribution colorful heel and line to ?rchytonic construction of the music forms.

In the Trace of Gerardo Mello Mourão: The Inter-Gender Hybridism and the Formation of Epiliric Poetry in Contemporary Brazilian Literature

In its configurative and representational basis, contemporary literature has established a warm dialogue with the classic and modern canons for the formation of literary genres that distance themselves from the poetics in force in order to establish their own aesthetics since the contemporary is in maintaining this gaze fixed on the present by returning to the past to deny or affirm it as the tradition of the new or the new of tradition (PAZ, 2000). The present study is justified in raising the reflection on the form of the epic and the lyric based on the transformations that occurred over the centuries to found an epic-lyric poetry as a renewing style of contemporary Brazilian poetry, the object of this research, which is based on the works Invention of the sea and Os peãs, by Gerardo Mello Mourão. The objective is to demonstrate the resistance of the epic in the current world by the hybrid composition that is established in the act of its production by the exteriority of the real along with the narrator's subjectivity. The problem of intergeneric hybridism is developed through bibliographic and qualitative research with intermediation of the deductive method and through the aesthetic-philosophical bias to demonstrate that it becomes the guiding element of this avant-garde style capable of establishing historical events through the temporality built by the world text. This whole discussion is centered on Aristotle (1992) and Boileau (1990), going through Hegel (1997), Lukacs (2000) and Bakhtin (2010) until arriving at Staiger (1997), Lima (2002), Greenfield (2006) and Kristeva (1995), showing that the epic-lyric poem is supported by the pluridiscursive dialogism maintained between the nature of the stylization of the lyric and epos as a style and not as a novelized process.

Quantistica — and style and gender in the superposition of quantic art

The author of the paper is based on the provisions of the “Quantum Art” manifesto, created in 2008 by Roberto Denti, an Italian theorist, architect, artist, computer graphics and designer. In his opinion, the avant-garde styles of the twentieth century, which are based on a spontaneous image of a religious, meditative, psychedelic and narcotic trance seen in an altered state (such as visionary art, abstraction, surrealism, etc.), should be perceived as special cases of quantism, fixing random images of altered consciousness, but the authors are not aware of the causal relationship with the galactic information field, the quantum structure of the Universe, confirmed by the latest discoveries of the world scientific community in the field of cosmogony and quantum mechanics.

Tendencies of the Urban Landscape Development in the Creativity of Artists of Stanislaviv Region of 1920s and 1930s: Reminiscences of Avant-garde Styles

The aim of the research is to outline the trends of urban landscape in the works of artists of Stanislaviv region (Ivano-Frankivsk region since 1962) in 1920s and 1930s as a view of the representation of Avant-Garde styles in the regional art. The tendencies of urban landscape development with the emphasis on the searches for new principles of shape and form in the landscapes of Stanislaviv region artists of 1920s and 1930s are analyzed. Research methods. The research methods are based on the formal and stylistic method of art analysis of artists’ works, as well as on the comparative and structural analysis of concepts and phenomena of the artistic process of the studied period. The scientific novelty of the research is to identify the leading tendencies in the landscape creativity of Stanislaviv region artists and to determine the peculiarities of their painting and graphic landscapes stylistics. The range of artistic associations and their representatives’ activitity is based on the example of the urban landscape regional art model in the dialectics of traditionalism and innovation. Conclusions. Tendencies of city depiction of 1920s and 1930s, due to its multivariety of imaginative, stylistic, and compositional features, are characterized by reminiscences of European Modernism trends. They are depicted by innovative spatial forms and approaches to the composition arrangement of art works, colour interpretation, and synthesized with regional artistic representation. In the art tradition of the city image in the early 20th century, the tendency of a realistic manner with Impressionism perception of the surrounding reality is considered to be dominant. Instead, innovative tendencies, principles of shape, and stylistic features of the urban landscape in the Stanislaviv region painting of the first third of the 20th century are conditioned by the newest city aesthetics, the revival of artistic initiatives in the European cultural space and the integration of Modernism tendencies into the national art of the first third of the 20th century.

Architectural Heritage of the Avant-Garde era in Southern Russia

This research explores Southern Russian architecture from the mid-1920s to 1930s considering issues of continuity, tradition, and innovation. The scope of the research comprises both well-known architectural monuments commissioned to Soviet leading professionals as well as a group of little-known architectural structures. In the paper, it is concluded that despite the fact that this period is usually associated with the widespread Soviet Avant-Garde style of architecture, the influence of other stylistic movements, such as Traditionalism and Art Deco, was also very strong. The research specifically focuses on the problem of heritage preservation. The heritage protection status does not guarantee the preservation of a building. Paradoxically, the smaller a township and the poorer the local economy, the better the state of historical architectural objects.

Към въпроса за стила „Pодно изкуство” в аспекта на българския авангард през 20-те години на ХХ век

The article presents the selected aspects of the Bulgarian avant-garde movement called “Native Art” (Rodno izkustvo) which developed in art (painting of Ivan Milev and others) and literature (the so-called decorative prose, ars decorum) in the 1920s. An aesthetical object of the then creators was searching for spirituality of the community expressed through a synthesis of such form of cultural heritage as symbolism, secession, Old Bulgarian and Byzantine iconography, rituals and folklore embroideries, ancient mosaic. For the constitution of the style “Rodno izkustvo”, the aesthetics of Bulgarian expressionism along with its artistic forms of rhythm and motion had a special significance. The analysis focuses on the theoretical writings by the most important representatives of Bulgarian avant-garde, namely, Čavdar Mutafov, Geo Milev, Nikolai Rainov, Sirak Skitnik and others whose attitude towards the problems of the style highlighted the process of it arising from individual acts to artistic syntheses. In the article, there are also references to the works of the contemporary art historian Dimitâr Avramov. The interdisciplinary research perspective of the article allows the author to indicate the distinctive properties of the avant-garde style of the Native Art, but also to illuminate the intellectual turn in Bulgarian art at the beginning of the 20th century.

The origins and major trends in development of jazz piano stylistics

The origins and major trends in development of jazz piano stylistics

Radikal Feminist İzler: Judith Thompson'nın The Crackwalker ve Lion in the Stree

Bu araştırmanın amacı çağdaş Kanadalı oyun yazarlarından biri olan Judith Thompson’nın The Crackwalker (1981) ve Lion in the Streets (1992) isimli oyunlarında ki kadın bedenlerini, başta Kate Millett ve Shulamith Firestone olmak üzere radikal feminist bakış açısıyla incelemektir. Radikal feminizm, toplumda ki kadın ve erkeğin üstlendiği adil olmayan rollerin sebebi olarak kadın ve erkek biyolojik farklılıklarını ve ataerkil sistemin baskısını görür. Oldukça etkileyici ve yenilikçi tarzıyla günümüz Kanada tiyatrosuna damgasını vuran Thompson, her iki oyununda da ataerkil sistem içerisinde yaşayan kadın ve erkek ilişkilerini ele alır. Thompson, The Crackwalker da Theresa- Alan ve Sandy-Joe karakterlerinin kendi aralarında ve hatta birbirleri arasında geçen aşk, evlilik,sexuality ve arkadaşlık gibi temaları ele alır. Theresa, Alan ile evlenerek, Alan’ın çocuk arzusu isteğini yerine getirmek zorunda kalır. Joe ile evli olan Sandy ise defalarca Joe’nun kaba sözlerine ve fiziksel şiddete boyun eğer. Lion in the Streets oyununda ise Thompson, tacize uğradıktan sonra öldürülen Isobel’in hayaletinin tanık olduğu kadın-erkek ve aile ilişkilerinden ve cinayetlerden bahseder. Oyunun ilk bölümünde eşi tarafından aldatıldığını öğrenen Sue, Bill’i terketmek yerine onun hakaretlerine katlanıp affetmeyi tercih eder. İkinci bölümde yer alan Edward ve Sherry, nişanlı bir çift, ilişkisinde ise Thompson, erkeğin kendi tatmini için kadını nasıl aşağıladığını gözler önüne serer. Her iki oyundada Thompson evli çiftleri mutluluk tablosu içerisinde yer almaz. Hatta Thompson, patriarchal yapı içerisinde varolan kadın vücutlarının evlilik teması altında nasıl ezildiğini ve yavas yavas tüketildiğini anlatır.