Image Of Mother Research Articles

IMAGE OF MOTHER IN UZBEK FOLKLORE

This article talks about the fact that the mother's image is often found in Uzbek folklore, especially in legends, narratives, fairy tales, epics, songs, and proverbs, and its interpretation in various genres shows some commonalities and peculiarities.

The Image of Motherhood in New China in the Light of Gender Archaeological Research—On the Meaning of He Chengyao's Performance Art

The Image of Motherhood in New China in the Light of Gender Archaeological Research—On the Meaning of He Chengyao's Performance Art

THE ARCHETYPE OF THE GUARDIAN MOTHER OF NATIONAL IDENTITY IN TATAR PROSE

The archetype of the mother reflects the mythical ideas coming from antiquity, the conditions of social life, the philosophy and worldview of the nation. This article examines the cases of the embodiment of the mother archetype in Tatar prose as an image preserving national identity and self-identification, and for this purpose separate works of prose are considered, starting from ancient literature and up to the modern era. In Tatar-Muslim literature, a special respect for the mother has ancient roots. The awakening of national consciousness at the beginning of the 20th century increased attention to the image of the mother in Tatar realistic prose. The author of the article refers to G. Iskhaki's story «Ostazbike», G. Ibragimov's novel «Young Hearts» and shows that in pre-revolutionary literature, the integrity of the spirit and faith were placed above physical existence in the works of writers. The October Revolution destroyed the way of life of the national family: there were changes in the image of the mother woman in literature. The mother began to be portrayed not as the keeper of family values passed down from generation to generation, but as a participant in the construction of a new society, leading social activities. Having studied the works of A. Eniki «The Unspoken Testament», A. Bayanov «The Tale of the Highlands», Z. Hakim «The Song of the Mother» in the article, the author comes to the following conclusion: the archetype of the mother in most cases appears in close connection with national issues and is often used as the most important image for preserving the essence of the nation. From the image of a particular person, a woman, it grows to a national symbol. And in the relationship between mother and son, especially in the motive of the son's search for his mother and in the motive of the meeting, the search and finding of the meaning of life by a person is reflected. Consequently, the elevation of the mother's image to the status of an archetype by Tatar writers is done to strengthen national self-awareness.

Stories of Mothering in Selected Muslim Female Narratives

Stories written by women writers hold an instrumental position in literature as they highlight the female perspectives and worldview, spatially and temporally. In Celestial Bodies by Jokha Alharthi and A Golden Age by Tahmima Anam, the female personal narratives include important details concerning the history of Oman and Bangladesh in the 1970s, respectively. This comparative study seeks to reveal images of motherhood in both novels and uncover the nature of the representation of mothers in Omani and Bangladeshi societies. The methodology adopts intersectionality as a lens to examine the images of mothering within the two socio-cultural contexts. The two novels revealed images of motherhood that are layered with complexities and tied to the culture they belong to. The narratives are also monumental as they reveal multifaceted themes of motherhood that lead to profound implications in the lives of the next generation.

The image of motherhood as the quintessence of Wisdom in Russian philosophy OF THE 19th CENTURY

The image of motherhood as the quintessence of Wisdom in Russian philosophy OF THE 19th CENTURY

Forecasting aspects of the motherhood image in workers of various professions

Introduction. The article presents the results of a survey on certain aspects that make up the image of motherhood in women of different professions, including students or working as an assistant to an electric train driver. The aim of study is to identify attitudes to motherhood in women of various professions. Materials and methods. Anonymous online survey. Results. The marital status of the respondents was distributed as follows: married - 31.03%; civil marriage - 20.69%; permanent partner - 13.79%; single, no partner - 34.48%. Of the 29 respondents, 27.6% are planning or have already linked their professional career with the position of an assistant driver. To the question "do you plan to become a mother" among them are all the answers, and with some probability it is possible to trace the dependence on age: the answers "has become" and "will soon" belong to women aged 30 years, whereas "long-term" or "no" at the age of 19-27 years. Conclusions. A woman's choice to work with harmful production factors does not mean that she refuses future motherhood. Most respondents have an ambivalent attitude to motherhood, which includes both positive and negative aspects.

РОЛЬ ВЗАЄМОВІДНОСИН З МАТІР’Ю В ДИТИНСТВІ У ФОРМУВАННІ СТАВЛЕННЯ ЖІНКИ ДО ВЛАСНОГО МАТЕРИНСТВА

The article is devoted to the study of such an important psychological phenomenon as an attitude of women to their own motherhood. It is summarizes the study of the problem of motherhood in psychological science in general. The article analyzes the problem of the influence of the relationship with the mother in childhood on the formation of a woman's attitude to her own motherhood in adult age. It is illuminates views of foreign and national researchers on the study of this phenomenon, as well as the essence of different areas of research on this phenomenon. Based on the theoretical analysis of the literature on this topic, the concept of "motherhood", its content and psychological essence is studied. Cultural-historical, biological, physiological and psychological aspects to the study of motherhood are singled out. The main content of scientific views on the formation of the phenomenon of motherhood is generalized. The main factors influencing the development of a woman's maternal sphere and the formation of the attitude to one's own motherhood are analyzed and considered. The content of such basic concepts as "mother's image" and "maternal relations" is revealed. The psychological features of the formation of an adequate image of the mother in the theoretical analysis of the ontogenesis of the maternal sphere are analyzed. The article also reveals the dynamics of motherhood in ontogenesis. The types of maternal relations and their role in the life of a mature woman are determined, as well as the influence of these relations on the formation of a woman's attitude to her own motherhood. The influence of different types of relationships between women and their own mothers on the level of formation of their attitude to personal motherhood has been empirically studied. Two groups of women were studied, one group had a positive relationship with their own mother, and the other had a negative one. In the course of the research the differences between different types of maternal relations and the level of formation of a woman's personal attitude to motherhood are singled out.

Dark Lens: Imaging Germany, 1945 by Françoise Meltzer

Reviewed by: Dark Lens: Imaging Germany, 1945 by Françoise Meltzer Susan A. Crane Dark Lens: Imaging Germany, 1945. By Françoise Meltzer. Chicago: University of Chicago Press, 2019. Pp. 256. Cloth $35.00. ISBN 978-0226625638. An esteemed scholar of religious studies and comparative literature, Françoise Meltzer is also the daughter of an American father and a French mother who lived in postwar Germany from 1945–1956, initially in Berlin. Meltzer was born and raised in a trilingual household: a nanny taught her German, and Meltzer became her mother's translator at a very young age. The introduction to her book, Dark Lens: Imaging Germany, 1945, offers striking insights into Meltzer's childhood experiences as a foreigner in a defeated land, but this all too brief section then gives way to the [End Page 424] primary purpose of the book: the exploration of a set of ruin photographs taken by her mother, Jeanne Dumilieu, in 1945. Meltzer was so used to playgrounds surrounded by ruins that, on arriving in New York in 1956, she asked her mother, "where are the ruins?" (5) Her mother is not named again; she becomes "the photographer." Meltzer remarks that her mother's generation was famously "tight-lipped" about their wartime experiences (Dumilieu's participation in the Resistance, and disdain for those who merely claimed to have done so, is briefly noted); the author feels it is appropriate to do the same (2–5). The scholar takes over from the daughter as Meltzer seeks the appropriate lens through which to view her mother's images. The book is elegantly written and cogently argued. Chapter 1 compares contemporary witnesses' accounts of the destruction caused by Allied bombing in major German cities and life amid the ruins, including Hannah Arendt, W.G. Sebald, Marie Vassilichikov, Irmgard Hunt, Friedrich Reck, Margaret Bourke-White, Stig Dagerman, and Gertrude Stein. Meltzer distinguishes autobiographical writing from reportage, but it's not clear why she chose these examples over others, when only one is a photographer and other rich sources (Alexander Kluge, Hans Erich Nossack) are only briefly discussed. She is interested in the role of atrocity description, seeing it as an abstract protagonist in each of the narratives, serving the fictive role of allowing the reader a sense of "being there." Throughout the book, Meltzer considers the Romantic gaze at ruins and the experience of the sublime. She is concerned about the viewer who might be attracted to the photographs' eerie beauty without taking responsibility for the presence and absence of victims and perpetrators. Meltzer believes that the Holocaust is an absent presence in the photographs and worries that viewers might miss this; she also cannot know how "the photographer" felt about this. In chapter 2 her discussion of ruin paintings by Anselm Kiefer and Karl Hofer focuses on the relationship between representation and description, how to make the unbearable real and visible. She shifts her gaze to photography in chapter 3, with a longer discussion of a few of the photographs (all beautifully reproduced), to consider the ethics of revenge and forgiveness; then in chapter 4 she turns to suffering and victimization. Meltzer glosses the Romantic fascination with ruins as a given, but seems not to have considered, as they did, how those same ruins (for instance, the Gothic) were damaged in warfare; or how the sublime experience always required temporal distancing, a delay, before efforts to preserve its ephemerality in words or images. Meltzer is more familiar with French scholars on the war and the Holocaust than with the English-language scholarship. She doesn't read Stefan-Ludwig Hoffmann, Anne Fuchs, Rudy Koshar, David Crew, or Michael Meng, to name a few, who have written about living with postwar ruins or consideration of that photography. The [End Page 425] perspective of an outsider to the field, as with Inge Clendinnen's Reading the Holocaust (1998), can bring valuable fresh insights, but as Clendinnen knew, it's an uphill slog, and Meltzer's overarching concern is moral, rather than historical: she wants to consider how it is that anyone can ever look at atrocity photography, with ruin photographs often harboring invisible human remains. What does this do to...

Mother Cries: Elizabeth Barrett Browning's Poetics of Maternity

This essay explores Elizabeth Barrett Browning’s conflicted portrayals of maternity. By foregrounding the experiences of pregnancy, labor, birth, and death, Barrett Browning shows that motherhood is based on the physical acts of stretching, tearing, and letting go; indeed, such physical acts serve as metaphors for the emotional ruptures at the heart of the maternal condition, and in that insistent attention to loss, Barrett Browning articulates the desire for individuation—for mothers as well as for children. This article traces Barrett Browning’s portrayal of maternity chronologically through her oeuvre, revealing increasingly politicized images of motherhood after her own experiences of miscarriages and birth. The trajectory of Barrett Browning’s work suggests that motherhood creates a more politically engaged sensibility.

母性性に関する心身医学的研究(第1報) : 現代の日本人のもつ母性性のイメージについて

母性性に関する心身医学的研究(第1報) : 現代の日本人のもつ母性性のイメージについて

母性性に関する心身医学的研究(第2報) : 心身症患者の母性性イメージ

母性性に関する心身医学的研究(第2報) : 心身症患者の母性性イメージ

Acts of resistance: The transformation of young single mothers in Hong Kong

Young single mothers are positioned as bad mothers in the dominant cultural and societal idealized narratives of motherhood in Hong Kong. This article draws from qualitative interview data of 20 young single mothers in Hong Kong who decided to keep their babies for lone motherhood, explicating the transformations they experienced in such decisions, and how their being positioned (or how they positioned themselves) as ‘bad’ mothers became their acts of resistance to the prevailing dominant images of motherhood. The findings also shed light on the important role in helping professionals collaboratively construct the ‘mother’ identity in order to prevent further subjugation.

Motherhood: a discrepancy theory.

Motherhood is a highly anticipated and positive event for most women. Society has constructed many ideal images of motherhood, giving women standards to live up to, and many times setting them up for disappointment. When this disappointment occurs, an emotional reaction follows, which may be fear, guilt, or shame. However, some women are able to experience this mismatch between an ideal and actual self and adapt with minimal emotional reaction. There was not a nursing theory that described this phenomenon. "Self-Discrepancy: A Theory Relating Self and Affect" (Higgins, 1987), from the psychology discipline provided concepts and definitions that could be used to derive a nursing theory. The derivation resulted in a testable mid-range theory that could have a significant impact on nursing interventions for postpartum mood disorders.

Performing celebrity motherhood on Twitter: courting homage and (momentary) disaster – the case of Peaches Geldof

It sickens me to see just how far the cult of celebrity and super fandom has come when grown women are passing their own kids round. I hate the world sometimes. (@peaches-g) (cited in Halliday 2013) This quote was part of a Twitter message that Peaches Geldof published in November 2013. In the message she also named the two women who had allowed the Lost Prophets singer Ian Watkins to abuse their babies. What became key elements focused upon by journalists in the newspaper debate that followed her subsequent deletion of the message and apology were the purpose of Twitter as a form of communication, and the celebritisation of public discourse. This tweet was constructed as an empty-headed, gossipy, childish and hence feminised intervention into the public sphere.1 Also tied up with this debate was the ongoing narrative of the ‘non-functionality’ of celebrity culture and its ‘reflexive exhibitionism’ (Hyde 2013). Yet Geldof had, until this point, used a combination of Twitter and Instagram to enact a self-transformation from girlhood to motherhood that had drawn critical affirmation from both media pundits and female followers via the social media sites. It is this image of motherhood that has informed the reporting of her sudden death of a heroin overdose at the age of 25 on 7 April 2014.

S/m/othering

Recent scholarship in art education has introduced complex discourses of mothering, m/othering curriculum (Hoeptner-Poling, Guyas, & Keys, 2012; Springgay & Freedman, 2009, 2010), (m)others (Eisenhauer, 2009), m(other)work (Hoeptner-Poling, Guyas, & Keys, 2013), family structures that confront myths of the nuclear family (Rhoades, 2009), non-Western motherhoods (Richmond-Saravia, 2011), and disability (Derby, 2011; Eisenhauer, 2007). Feminist artists and activists have long confronted cultural constructions of motherhood and the pregnant, post-partum, and lactating body in their work (e.g., Kelly, 1973-1979; Opie, 2003; Redman, 1964; Ukeles, 1969). Yet, bodies rendered infertile through either biological or sociocultural exclusion from parenting and the loss(es) associated with infertility remain largely invisible in both artistic practice and academic discourse. This absence is s/m/othering. It perpetuates misunderstandings of the complex reality of mothering and parenting experiences in all their expressions. It at best condones and at worst reproduces discriminatory institutional practices such as routine exclusion of fertility treatments and of benefits for adoptive families from health insurance plans, limiting possibilities for pursuing parenthood. Following the inclusive precedent set by scholars and artists in art and art education (e.g., Eisenhauer, 2007,2010), I argue for both a presence for the experience of infertility along with an expansion of images of motherhood and parenthood within art and art education. I propose a framework for inclusion of the infertility experience within four primary contexts.First, contemporary feminist scholars (e.g., Gupta, 2006) have described a polarization of the discourses surrounding infertility and especially New Reproductive Technologies (NRTs), including invitro fertilization (IVF). This dichotomy represents women as either victims whose selves and bodies are subjected to patriarchal, medicalized surveillance or as capable agents who exercise choice within the context of reproductive rights that align with broader and historical feminist arguments. These binary discourses are pedagogically significant because they reproduce cultural and institutional practices that continue to render infertility hidden and encourage silence and lack of disclosure, diminish cultural support for the grief associated with infertility, limit the choices available to individuals who wish to pursue parenthood, conflate womanhood with motherhood, and reify patriarchal notions about who and what a family is and how that family comes to be (e.g., Throsby & Gill, 2004).Second, globalized medical and economic practices and transnational feminisms (Gupta, 2006) intersect with this polarized view. These junctures further complicate the relationship between access to reproductive care through insurance and national health programs; the quasi-legal selling, renting, regulating, and destroying of human body parts; and the interests of multi-national pharmaceutical corporations, (local, state, and national) governments, and their constituents that include public educational institutions and insurance carriers. Contemporary feminist scholars and artists must address this complexity and work to make the affective and embodied experience of all those experiencing infertility, engaging in the fertility economy, and building alternative family structures not only visible but also central rather than peripheral or anecdotal. For example, contemporary artist Marilee Talkington performed The Creative Process: An IVF Living Art Piece from May through June 2013. In the work, she publicly injected herself with the hormonal drugs necessary for IVF in multiple locations including the San Francisco MOMA, the de Young Museum, and the Golden Gate Bridge. Her injections were live-streamed for online viewers, and she invited others going through IVF to inject with her. Talkington's piece both publicizes the private aspects of the IVF process (including learning to inject oneself with medications) and invites other participants in the process to claim it by making it visible. …

“In My Eyes, Each Photograph was a Masterpiece”. Construction of children's photos in a family album on kibbutz in Israel

This article explores the process of the creation of photographs on kibbutz through a case study of one nuclear family living on kibbutz in Israel. It examines the process of construction of photographs in the private family album of the nuclear family in relation to the public forms of documentation on kibbutz. The article explores to what extent the photographs enabled the family to express their individuality in kibbutz society, which was self-governed by a socialist, egalitarian ideology. It examines the influences of the childhood photographs of the mother, who joined the kibbutz as an adult, on the construction of images of motherhood in her private kibbutz photo album. It investigates the way in which the construction of private photographs in one family album contested dominant mythologies on kibbutz at that time.

Not Ready to Make Nice: Aberrant mothers in contemporary culture

The story of motherhood in popular culture has never been a simple one. Cross-cut by race, class, and sexuality (and, importantly, marital status), interwoven with changing psychological and biological theories and fantasies, tied up with nation-building and citizenship claims, images of motherhood remain both template and signpost upon which we project our desires for kinship and care and our most vexed understandings of womanhood and femininity. This essay examines fictional motherhood in an era of real-life Octomoms and presidential candidates. We argue that a new type of mother has emerged—particularly on TV—that presents a radical departure. From the suburban mom/drug dealer of Showtime's outré series Weeds to the vapid 1960s wife of Mad Men, aberrant mothers abound in contemporary culture. But, unlike aberrant mothers of earlier eras, these mothers are by and large heroines, unapologetically non-normative in their maternal functioning. The parenting is cursory at best and often downright neglectful, behavior that has typically resulted in sure death for Hollywood mothers of earlier eras. We examine these images as a challenge to normative familialism and rigid gender ideologies.

For My Own Pleasure and Delight

For My Own Pleasure and Delight

Close-Up Gallery: <em>Precious</em>

Close-Up GalleryPrecious David C. Wall (bio) This issue of Black Camera has a special focus on Lee Daniels's 2009 award-winning Precious.1 The story of the film's production, development, distribution, and (largely) critical and popular success is by now well known. The Close-Up section acknowledges the significance of this film by engaging with the myriad complicated discourses that surround the movie. The essays and commentaries included reveal the multiplicity of readings available to the thoughtful critic as well as the contentious and provocative nature of the film itself. This complexity is further attested to by the artwork on the cover and accompanying this special section. Precious is a difficult film to watch. It has to be acknowledged that a significant part of its power as a work of cinema is in its stark and unrelenting rendering of trauma and abjection. Yet, at the same time, it is filled with moments of quiet joy and dignity. And it is, perhaps, in those moments of joy and dignity that a larger truth of Precious might be found. At the same time, there are very specific African American social, historical, and cultural contexts in which the film is situated. This is, at least in part, a cause of some significant debate surrounding the cultural labor of Precious. Is it an excoriating indictment of a society in which a black underclass is left to rot? Or is it merely one more predictable iteration of the pathology of the black family that panders to white liberal sensibilities? It is, of course, both and more. While implicitly acknowledging the historical and cinematic contexts of the film, Adele Stephenson's portrait of Claireece "Precious" Jones moves away from the more immediate and obvious images of deprivation and despair. The painting positions Precious not only in the milieu of contemporary black urban life but also in the traditions of Western art history, especially as that history relates to images of mother and child. Stephenson's immediate reference point is a painting by Raphael entitled Madonna and Child with Book (ca. 1502), but of course images of motherhood are found in the Western tradition going as far back as ancient Rome when pictures of mothers and children—known as caritas—functioned as visual embodiments of charity and kindness. Our own visual encoding of motherhood is [End Page 220] dominated by images of the Virgin Mary. Indeed, we might argue that all images of motherhood are in some way related to the powerful ubiquity of Christian imagery that for centuries has located Mary at the visual center of discourses of maternity, nurturing, kindness, and humanity. For Stephenson the relationship between Precious and her children became the central element in the film. "I watched the film a number of times before beginning the work. What struck me, what the thread was for me, was a single line of the relationship between Precious and her own children."2 The image of mother and child becomes, then, the central point for the collision of the multiple discourses in the film and the social tensions that are played out through the stultifying intimacy of the domestic arena. Though images of the Virgin and Christ child are ubiquitous, as a genre they offer an almost limitless set of versions, variations, and visions. Modern versions have abounded as a consequence of both the development of technologies of communication and reproduction and, perhaps ironically, the secularization of Western culture that has allowed the image to proliferate through countless utilities of commodification unimaginable prior to the twentieth century. Stephenson's own painting engages with these disparate iterations of the Virgin and Christ child while reaching back to some core elements that express peace, abundance, and, most importantly, hope. It is with this sense of hope that Stephenson has attempted to imbue the image of Precious. Notwithstanding the ruptured vision of motherhood presented by Precious's own mother, the portrait of Precious Jones is designed to encourage a nuanced reading of the character that articulates much more than yet another vision of victimhood. In speaking to the film's broader politics, Stephenson is, thus, making an effort to avoid equating blackness with the...

Nieinwazyjne badania in situ wybranych obrazów z kolekcji malarstwa i pasteli autorstwa Meli Muter za pomocą tomografii optycznej OCT

Optical Coherence Tomography is a non-contact and non-invasive technique of depth-resolved structural imaging within media scattering and/or absorbing nearinfrared light moderately. It utilizes a concept of low-coherence interferometry and thus light sources must be characterized by low temporal (to ensure high axial resolution) and high spatial (to ensure high sensitivity) coherence. The instrument used in this study has 4 μm axial resolution and over 100 dB sensitivity. The modular construction based on fiber optics makes it fairly easy transportable and not requiring optical table mounting. The system’s portability together with fast and straightforward data acquisition, makes OCT especially well suited for quick in situ evaluation of large museum collections of paintings.A vast collection of seventy-one oil paintings and over one hundred drawings, watercolours, and graphics by Mela Muter (Maria Melania Mutermilch, 1876, Warsaw – 1967, Paris), gathered by Bolesław and Lina Nawrocki, is now on deposit to the Nicolaus Copernicus University Museum in Toruń. Artistically active in the first half of the twentieth century within the École de Paris, Mela Muter became recognized mostly for the portraits depicting socialites of the time, as well as images of motherhood, children and old people.The collection brings specific conservation problems. Since the works were mostly acquired from Muter herself, the attribution is not in question. Nevertheless, the majority of paintings bear signs of extent conservation treatment and/ or alterations performed by the artist in her late years, possibly including adding signatures.The aim of the survey of the group of nine Mela Muter’s paintings and two pastels was to define the conservation issues as well as to indicate the objects and areas for further examination with various analytical techniques. In result, the evaluation of secondary layers (varnishes and putties) was performed for seven paintings. The structure of the paint layer in the area of the signature was analyzed in three paintings. Finally, in case of two pastel paintings, the safety of pigment layer (its distance to the glass) was assessed.