Pretty Woman Research Articles

Ain’t I a Woman? A Look at the Beauty of Blackness Amid the Internalized Body Politic of Genteel Whiteness

Ain’t I a Woman? This question was raised by activist and self-emancipated former slavewoman Sojourner Truth, who validly questioned the body politic of identity when contextualized to perceptions of female personhood. Essentially, what Truth challenged were presumptions about the standards set to revere female bodies through markers of genteel Whiteness, while the worth of embodied Blackness, precisely the beauty of Black women, is reviled. In this article, I seek to raise awareness about factors of patriarchy and societal ramifications. Patriarchy is a systematized phenomenology of norms privileging the male gaze. The White male gaze, particularly in strongholds of power, influences the body politic of communal identity. Black women tend to lean on their faith to embody strength, yet patriarchy also encumbers the gendered body politic in religious spheres. As a womanist scholar, my analysis considers the intricate roles that patriarchy holds in the cultural production of a genteel, pretty woman image, wherein the aura of Whiteness grounds a body politic that deems Blackness as other. Despite the influences of prevailing macrosystems, I propose a theoethic of self-love to push against negatively biased identity boundaries by affirming ways to embrace Black beauty with a subversive imperative to love oneself regardless.

"Pretty Women" and "Lucky Blokes": Unpacking Australian Social Media Responses to Female-Perpetrated Sexual Assault Against Men.

Female-perpetrated sexual violence research in Australia and elsewhere has been limited, part of a less common and arguably contentious field of criminology. Because of gendered social and cultural stereotypes, female sexual offending is often perceived as harmless or too rare to warrant attention. Utilizing Schippers' pariah femininities, this paper presents a critical criminological exploration of social media users' constructions of female sex offenders and their male victim-survivors. Examining 28 Facebook posts from 13 popular Australian newspapers, our findings identified social media users' tendency to question offence severity and sexualize offenders based on appearance, revealing how offender legitimacy and conceptions of harm are shaped by gendered expectations of "pretty women" and "lucky blokes." Conclusions suggest online discourse remains influenced by gendered stereotypes, though awareness of pariah femininities is growing, with further research needed worldwide to explore the impact of such social media attitudes and commentary on the incidence of and reactions to female sexual offending against men, including victim-survivors' help-seeking behavior.

Forsake of Law Satire and Fair use Vis À Vis Oh, Pretty Woman Dilemma

Forsake of Law Satire and Fair use Vis À Vis Oh, Pretty Woman Dilemma

Pretty Woman Walking Down the Street

Pretty Woman Walking Down the Street. Interview with Biering and Kristensen by Gade. The interview explores the artistic strategy around the performance Pretty Woman A/S (2008), performed by female prostitutes, which triggered a strong public debate.

Pretty Woman Walking Down the Street

Pretty Woman Walking Down the Street. Interview with Biering and Kristensen by Gade. Theinterview explores the artistic strategy around the performance Pretty Woman A/S (2008), performedby female prostitutes, which triggered a strong public debate.

English Summaries

Hostages of Me by Tue Biering and Hvad har vi egentlig haft gang i? Etiske, sociale og kunst­neriske undersøgelser by Jeppe Kristensen: In two articles, the founders of FIX&FOXY are reflecting on how the production company can develop theater and performances, in order to make the audience reflect on societal dilemmas. InterviewsPretty Woman Walking Down the Street. Interview with Biering and Kristensen by Gade. The interview explores the artistic strategy around the performance Pretty Woman A/S (2008), performed by female prostitutes, which triggered a strong public debate. Møder, relationer, populærkultur og repræsentation. Interview with Bering by Gade. In this conversation, Gade draws a portrait of FIX&FOXY’s practices, and identifies some fundamental themes in contemporary theatre. Udflugt til ungdomsland. Interview with Kristensen by Christoffersen and Krøgholt. Kristensen reflects on the process of Youth (Ungdom) focusing and on how the company created ownership for the young participants, to give agency as co-developers of the performance’s various spaces. My Deer Hunter. Interview af de medvirkende og det kreative team. Interview with participants from My Deer Hunter by Christoffersen, Krøgholt og Winkelhorn. In dialouge with four participating veterans and the artistic team behind My Deer Hunter, the interview explores, how the performance and rehearsal process functioned for a group of PTSD affected veterans, and how their histories and participation in war was challenged. FIX&FOXY’s poetik, metode og organisering. Interview with Biering by Christoffersen, Krøgholt and Winkelhorn. Biering tells about the principles and the theatre view that have been guiding for FIX&FOXY’s creative and theatrical strategies throughout the theatre’s work. Articles Europæerne. En postdramatisk tilgang til klassikerne by Mads Thygesen. How did the staging of The Europeans exploit classics as a tool to intervene and mix in a current historical and political context? The common denominator for the work was European wars as a dramatic focal point. The article discusses how this performance illuminates the seed of FIX&FOXY’s poetics and conceptual thinking from 2005. Mod alle Odds. Tragedie og statistik by Erik Exe Christoffersen. Against All Odds (2019) are based on identity, representation, and statistics, which portrays how today’s young persons’ lives would statistically look in the future. The question raised by Christoffersen is, how the dramaturgy of the performance creates communication. Forvaltningen af publikums ubehag. FIX&FOXY som politisk konfrontationskunst by Laura Luise Schultz. She describes the approach to the audience in various of performances and highlights, that a central feature of FIX&FOXY’s political remediation is their sophisticated engagement with the audience and managing of the audience’s discomfort. Love Theater. Uhåndgribelige konflikter by Jeppe Kristensen. Kristensen went to Bangkok to cast a prostitute who should play the leading character in Love Theater. The performance was based on her own life-experiences as prostitute, and the article is reflecting on intangible conflicts, regarding the prejudices of an audience. Samtidskunst, repræsentation og remediering by Erik Exe Christoffersen. Christoffersen empha­sizes FIX&FOXY’s way of doing remediation, perceived as a way of ‘overpainting’ a work like a palimpsest. Verdensteater og øjebliksteater by Jeppe Kristensen. Kristensen gives an overall artistic discussion of FIX&FOXY and draws a thread from the company’s beginning as a theatrical variant of con­temporary art, to Peter Osborne’s analysis of what contemporary art is today. EssaysFIX&FOXYs distribuering af ledelse by Ida Krøgholt. Krøgholt is unfolding FIX&FOXY’s way of working as distributed facilitation, where the participants facilitate each other, and thus through the theatre process develop an awareness of communication and observation. FIX&FOXY’s representation strategies by Anne Liisberg. Liisberg raises the important questions: Who and how can we represent? And who will never be represented?

Retelling Cinderella: Cultural and Creative Transformations

Retelling Cinderella: Cultural and Creative Transformations

The Influence of Three Dimensional Aspects of Main Character in the Plot of “Birds of Prey” Movie

The movie Birds of Prey contains a unique story with an uncommon main character who experiences a lot of things in her life throughout the plot. In which it involves the three dimensional aspects of the main character, such as; physiological, sociological, and psychological aspects. As the aims of this research are: (1) to analyze the three dimensional aspects present in the main character of Birds of Prey movie, (2) to analyze how the plot are developed based on the three dimensional aspects of the main character in Birds of Prey movie. This research was conducted by applying the qualitative method. The writer also uses two theories in this study, the first is the theory of three dimensional aspects of the main character by Egri (1946) and the second is the theory of plot proposed by Freytag (1895). Based on the result of this study, the writer found that physiologically, Harley is a pretty woman with an uncommon makeup and style. Sociologically, Harley is living miserably and surrounded by people who want to take revenge because she has no one to protect her since the breakup with Joker. Psychologically, Harley is seen as a brave woman because no matter how hard her life is, she always try to moves forward and live to the fullest. She is also smart, as she is a former psychiatrist. Though sometimes she does something crazy that is beyond imagination, she always has a way to overcome all of her problems in life. While, the plot consists of exposition, rising action, climax, falling action, and denouement, in which each of these points are strongly correlated with the three dimensional aspects of main character to make a good storyline.

Defining Conjunto Quantitatively: Classical and Modernist Styles in a Texas-Mexican Genre

Defining <i>Conjunto</i> Quantitatively: Classical and Modernist Styles in a Texas-Mexican Genre

Comedy and Other Hollywood Tropes of American Social Stratification (1990–2011)

In modern social theory, mass media have been seen as providing ideological support for the reproduction of class inequalities, and structures of exploitation and domination, in industrialized economies. Similarly, cultural anthropologists saw American stratification as contributing no less direct support of the status quo. However, selected Hollywood movies depict an actor-based and inclusive vision of American stratification. In close viewings of Pretty Woman (1990), Good Will Hunting (1997) and The Descendants (2011), I adapt Northrop Frye’s “modes of fiction” framework (1957), which I couple with modern mass media theory and trace back to American exceptionalism, to argue that this vision promotes a comic vindication of class inequality in American society.

“Is beauty only skin deep?”

Abstract From a semantic and cultural perspective, one could ask a number of questions regarding the English word ‘beauty’ and the adjectival form ‘beautiful’ when they are used to refer to visual aspects of people. Given that scholars and professionals in the beauty industry frequently use the words to describe people from various cultures, should we assume that each of them embodies a semantic and cultural universal? Given that plastic surgeons and beauticians improve the physical appearance of people, especially women, why do they not use the word ‘pretty’ to promote their services instead? After all, the phrase ‘pretty woman’ is also the title of a popular song first recorded by Roy Orbison in 1964 and later the name of a hugely successful 1990 movie. Why are beauty salons so called? Why are they not called prettiness salons instead? This paper attempts to address such questions by studying the meanings of two Mandarin Chinese words: mĕi/měilì (roughly, ‘beautiful’) and piàoliàng (roughly, ‘pretty’). The words are polysemous and this paper focuses on the meanings that are relevant to the purposes of describing women. It tries to explain the conceptual difference between a woman who is mĕi/měilì and one who is piàoliàng. Hopefully, the findings will shed light on some of the semantic distinctions that are important to Mandarin Chinese speakers and thus the questions raised above.

Body-representation and sexual identity projections: A survey of advertising in print media

Matrimonial advertisements provide an unobtrusive site where the image, construction and perpetuation of normative heterosexuality are observed through socio-cultural discourses. The current study focuses on self-representation and gender role expectations in 550 classified matrimonial ads from two popular newspapers (The Daily Dawn, The Daily Jang) in Pakistan. Gender differences in desirable physical attributes, occupational preferences and personality traits are examined. The results revealed that gender polarization in ideal spousal occupations, and the relative variability in gender identities of women as compared to men. A strong preference for pretty and slim women is observed. Implications for the sexual objectification of women and changing gender roles in changing socioeconomic landscape of Pakistan is due to the impact of globalization.

The Values of Jaranan Pogogan Art Teguh Rahayu at Sugihwaras Village, Prambon Sub-District, Nganjuk Regency.

Jaranan Pogogan art Teguh Rahayu have its own uniqueness. The uniqueness lies in the presentation performed on stage, and is presented by two male dancers who dress up like a pretty woman. A dancer is as a Sasra and another dancer is as Pogog. The purpose of this research is to analyse the values of the art performance of Jaranan Pogogan Teguh Rahayu. This study used a descriptive qualitative approach with a case study model at the art performance of Jaranan Pogogan Teguh Rahayu. This research was conducted in Sugihwaras village, Prambon Sub-district, Nganjuk Regency. The data in this research is classified as two, namely primary data and secondary data. The data collection techniques in this study are field observations, interviews, documents, and library studies. The triangulation is used as the process in the validity of the data of this study. Technique of analysis data used data reduction, data presentation and conclusion and verification. The results showed that there are four values contained in the Pogogan Teguh Rahayu Arts Museum, they are as follows; the value of deity, the value of goodness, the value of righteousness, and the value of beauty. This analysis uses some value on the Pogogan Teguh Rahayu Art which the values reflected in daily activities.

Pretty Women Don’t Drive: Early Women Motorists and the Taming of the Motor-Car

“Ladies will not give up motoring, and they certainly will not give up smart frocks.” –Daily Telegraph & Courier (2 July 1905) “Why don’t pretty women drive?” In a 1906 letter to The Autocar, a mal...

Musical dramaturgy of the Broadway musical on the example of “Aida” by Elton John and “Next to normal” by Tom Kitt

Musical dramaturgy of the Broadway musical on the example of “Aida” by Elton John and “Next to normal” by Tom Kitt

The occurrence of the Tulip breaking virus in tulips in the northern part of Turkey

Abstract The tulip (Tulipa sp.) is one of the most important ornamental bulbous plants, which has been cultivated as a cut-flower, potted, and garden plant, and used for landscaping in Turkey. This study investigated the occurrence of a viral disease in the tulip cultivars Strong Gold, Pretty Woman and Purple Prince that causes striping of the leaves, flames of different colours on the petals and mosaic patterns on the leaves, in Samsun province of Turkey. Surveys of virus-infected tulip plants were carried out in the Middle Black Sea Region of Turkey in 2015-2016. A total of 212 samples were collected from four locations and checked by biological, serological and molecular methods for the presence of the Tulip breaking virus (TBV). TBV was detected in the leaves and flowers by double-antibody sandwich enzyme-linked immunosorbent assays (DAS-ELISA) in the tulip cultivars (15.5%) tested from Samsun province. TBV infection was found at the highest rate in the cultivar Strong Gold (19.7%), followed by Pretty Woman (14.1%) and Purple Prince (12.8%). The presence of TBV in samples was further confirmed by reverse transcription polymerase chain reaction (RT-PCR) assays. This is the first report on TBV naturally infecting tulips in Samsun province, Turkey.

Becoming Carlotta: A Biographical Novel

Becoming Carlotta: A Biographical Novel

Four Jane Poems

Four Jane Poems Jennifer Habel (bio) P is for Prologue Jane is smart, but not as smart as her husband.Jane was smart, but not as smart as her father.Jane is smart enough to know her mothershould not have let Jane knowthat Jane's derelict brother outscored Janeon the IQ test. Sometimes you have to hideyour light under a bushel, Jane once hearda professor tell his junior colleague.His colleague couldn't stop talking. She couldn'tstop talking because she wasn't pretty.When a pretty woman gets oldshe sometimes starts talking. Jane mightbe getting ready when she hidesbefore the mirror pluckingher new gray hairs. [End Page 13] Jane in the Passenger Seat The floorboards are wet. The heater is gusting. The skyis low; the fields blank. You'll have toask Dad that, Jane answers. The backseat does notask Dad that. It is February in New England.The destination is Trader Joe's. Jane knows that centuries ago women crossed fieldsto deliver their neighbors' children. They wore snowshoes,brought honey, rum, and butter. The snowwas stirred like their skirts. The snowwas crusted like sleep. The snow was deep. (The heat is on, Jane tells the backseat.)As the sky was low, the night was sudden.The sun, like desire, had occurred.Jane thinks of wool cloaks congregating on pegswhile the women attended travail. It was hard, it was very hard & dangerous. The motherwas under very Dangerous Circumstances,as God intended. Big house little house back house barn,Jane chants to no one. She will forgetthe pickles. She will remember butter [End Page 14] and honey. She will see her husbandstanding by a cardboard cupid,hands in the pockets of his dirty coat,staring at nothing. Soon, she tells the backseat,which is nearly true. After a night, or several, a woman emergedwith news. My wife was Delivered,a man recorded. His life — his work —resumed. The fields needed paths.The animals needed hay. The snow, the wind, the cold — nothing abated. A passenger's job is to help.Sometimes a passenger can't helpbut ask the driver what's wrong. [End Page 15] S is for Souvenir … and then, through a window, Jane saw a fox.Saw a fox and thought, Foxes are small.The fox was a dash, a vanishing fact. You only see a fox.You only have seen it. Jane at dawnwith a small thought and a tube of biscuits. [End Page 16] Jane in the Guest Room Jane wants to wear the necklace she brought: it would pleaseher mother. But everything that pleases Jane's mother is what's wrong with Jane's mother.Jane is a very attractive woman, says her mother, by which she means I need to lose ten pounds. Jane needsto lose ten needs: the need to disprove, the need to need, the need to disapprove,the need to use the dusty treadmill in her mother's basement. The necklace, like all jewelry, is meant to mean. It meansthat Jane is Jane's mother's daughter. (The need to claim.) The necklace is faceted, like a concession.The necklace is red, like a confession. Wear the necklace, Jane, Jane thinks.In the kitchen Jane's mother will be waiting. The need to hide, the need to be seen.The need to hide the need to be seen. There you are, her mother will say. The need to be right,the need to repeat. Jane's mother is right: Jane should wear more color. [End Page 17] Jennifer Habel Jennifer Habel is the author of Good Reason, winner of the Stevens Poetry Manuscript Competition. Her poems have appeared in the Believer, Gulf Coast, the Massachusetts Review, the Southeast Review, and other publications. Copyright © 2019 The University of the South

Response: Postexceptionalist Puritanism: Rocking the Foundations

Response: Postexceptionalist Puritanism: Rocking the Foundations

Infusive “Spots of Time”: Young F. Scott Fitzgerald's Traumatic Summer of 1910

Abstract This article addresses the overlapping backstories to the first three of four auto fatalities that affected F. Scott Fitzgerald's life and art. It explores biographical information about Fitzgerald's relationship with his rich St. Paul neighbor Stuart Beebe Shotwell Jr., and two Princeton classmates, Robert E. Sniffin and Charles O. Wiegand. All three individuals died in automobile accidents that deeply cut into Fitzgerald's psyche. At age thirteen young Fitzgerald saw Mr. Shotwell get run over by a pretty woman driving a fancy car. Seven years later, on the eve of World War I, two of his former Princeton dorm-mates were killed in DUI accidents one night apart. These terrible events may have caused deep-seated trauma for Fitzgerald. This article argues that the author infused an array of “focal points” and Wordsworthian “spots of time” emanating from those traumatic events into This Side of Paradise and prepared Fitzgerald to dramatize a fourth automobile fatality in The Great Gatsby.