Woman's Head Research Articles

“A Hurly-Burly in This Poor Woman's Head”: The Gothic Character of Ann Yearsley's Authorial Identity

“A Hurly-Burly in This Poor Woman's Head”: The Gothic Character of Ann Yearsley's Authorial Identity

IDENTITY AND OTHERNESS: THE CASE OF ATTIC HEAD VASES AND PLASTIC VASES

Previous articleNext article No AccessIDENTITY AND OTHERNESS: THE CASE OF ATTIC HEAD VASES AND PLASTIC VASESFrançois LissarragueFrançois Lissarrague Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Source Volume 15, Number 1Fall 1995SPECIAL ISSUE: REPRESENTATIONS OF THE "OTHER" IN ATHENIAN ART, c. 510-400 B.C. Sponsored by the Bard Graduate Center, New York Article DOIhttps://doi.org/10.1086/sou.15.1.23205708 Views: 38Total views on this site Citations: 2Citations are reported from Crossref © 1995 Ars Brevis Foundation Inc.PDF download Crossref reports the following articles citing this article:Marina Haworth The Wolfish Lover: The Dog as a Comic Metaphor in Homoerotic Symposium Pottery, Archimède. Archéologie et histoire ancienne 5 (Jan 2018): 7–23.https://doi.org/10.47245/archimede.0005.ds1.02 Bibliography, (Jan 2013): 723–816.https://doi.org/10.1002/9781118273289.biblio

Premenstrual Dysphorias: Myths and Realities

This new book will be of use to students, clinicians, and researchers who want to understand the mood, behavior, and physical symptoms associated with the menstrual cycle. Although premenstrual syndrome (PMS) requires further research, women need treatment now. There is a clear association between PMS and ovarian sex steroids (estrogen and progesterone), yet a simple hormonal etiology has not been found. The first half of the book addresses empirical issues such as diagnosis, biological factors, and treatment, while the second half deals with sociocultural issues, such as the patriarchal myth of women's subordination to men. We need this book because, although it has been about 15 years since PMS became popularly known and women began demanding attention for it, most physicians understand little about premenstrual problems. In fact, many physicians believe that PMS does not exist and that it is all in a woman's head. The last comprehensive scholarly book

Women, Religion, and Power: Gender and Resistance in Daily Life in Late-Seventeenth-Century Santiago de Guatemala

Women's power to reshape and refabricate social identity is explored in two case studies from the records of the Holy Office of the Inquisition. Women manipulated religious symbols, language, and rituals to push against the narrowly defined structures of their lives. Gender, along with race and class, is central to understanding resistance strategies in colonial life. The Case of Dofia Lorensa de Galves In October i668 Dionisia de Castellanos, a sixteen-year-old mulatta slave, presented herself to the Holy Office of the Inquisition in Santiago de Guatemala (today Antigua) to accuse Dofia Lorensa de Galves of witchcraft and superstitions.' Dofia Lorensa, an elite widow of unspecified ethnic origins, had been married to Don Nicolas Enriques de Castellanos. A month before, Dionisia and five of her female companions-a black slave, two Indians, and two mulattas, all servants of a neighbor-were in the house of Dofia Lorensa de Galves. Dofia Lorensa told them that a shawl, a petticoat, and a woman's head covering had been stolen, and that she wanted to find the thief. To do this, she attached one end of a silk thread to a hoop and the other end to a pair of scissors. Dofia Lorensa and her servants, Maria (a free mulatta) and Melchora (a black woman), held the hoop between them and con dedos animados (with animated fingers), swung the scissors around, praying Saint Peter and Saint Paul and all of the Apostles tell me who has stolen these things.2 As they continued to swing the scissors, Dofia Lorensa said the names of all those present. When she mentioned the name of Dionisia's friend Madellena, the silk thread began turning over and over in a circle. Three Ethnohistory 4z:4 (fall I995). Copyright ? by the American Society for Ethnohistory. ccc ooI4-i8oi/95/$I.50. This content downloaded from 157.55.39.138 on Mon, 27 Jun 2016 06:03:43 UTC All use subject to http://about.jstor.org/terms

Two Yoruba Brass Pillars

both in the hardwood roof pillars at the edges of galleries surrounding court- yards and impluvia in palaces2 and as free-standing figures in temples. Taken together, they are visual statements about power: ferocity to foes, to rivals, to those who do not serve; and the bless- ings bestowed by the strong ruler, divine or earthly, upon those who faithfully serve, conducting themselves as do good wives to a noble husband. The composite pillar including the woman and child is the more informa- tive of the two objects (Fig. 1, right). To begin with the woman's head: her hair, with the central crest, is done in the style peculiar to certain devotees in the cult of .Singd, the Yoruba thunder god and leg- endary third Alaafin to reign at Old OQy6.

Permanents and Transients

Permanents and Transients by Marian Motley-Carcache As an only child growing up in rural Alabama, I especially looked forward to accompanying my mother on her trips to town to the beauty shop. Beauty parlors were not only my source for movie magazines , which Mama would not buy for me, but they also provided me with my only first-hand contact with cosmetics. I could paint my fingernails ten times in the hours it took to give Mama a permanent, and since the only nail polish at our house was the clear that we used on bedbug bites and to stop runs in stockings, I delighted in painting my nails every colorfromcopper tocotton candy. Unfortunately, trips to the beauty shop, like most other innocent pleasures ofchildhood, soon proved to be neither innocent nor pleasurable. One particular visit looms in my mind to this day in nightmare proportions-and after that visit, fifteen years passed before I again could be coaxed to set foot inside a beauty parlor. Mamapickedme up from school, delivered me from an afternoon of "circling what's wrong with this picture" in those thick-pink "Think and Do" books, to take meto Voncille'sKutandKurl. My mind was filled with visions of Screen Secrets magazines andrainbows ofnail polish, of intriguing bottles of dye and tubes of conditioner. Little did I realize what was actually in store for me. It never crossed my mind that a permanent was just what it said it was-permanent. Neither did it fully register that this time I was to be the victim of the pins and the rods and the solutions and the machines. This time I would notbe free to collectmagazines and play with cosmetics. I would be confined and curled. Voncille's beauty shop was inherhome, an old house that must have been a Victorian showplace in its day, but beingrental property now, was far from grand. A wooden shingle hung out front, a pink silhouette of a woman's head with "Voncille 's Kut and Kurl" painted on it in powder blue. Several cars were parked in the front yard, probably because of a sign that read, "Please Do Not Block Drive" that stood by the driveway. A string of bells and seashells that hung around the door knob jangled as Mama opened the 27 door and we stepped into the parlor. Voncille fascinated me from the start. I had heard Mama and some of her friends say that Voncille had just moved to Alabama from Florida, and that she had tried to commit suicide for the third time just a few weeks before settling here. The idea of her slit wrists intrigued me even more than the bottles of nail polish that I had already spotted lined up on a two-tier plastic cart in the corner of the room. Another interesting thing about Voncille was that she had either plucked or shaven away all of her eyebrows and had drawn on anewpairaboutahalf-inch higherthan where the real ones had been. Soon I found myself placed on top of a stack of magazines topped with a cushion to make me sit higher in a big vinyl chair. Then the backofthe chairwasdropped from behind me and my neck was fitted into a guillotine of a crevice on the front of ablack sink. As a deluge ofwater soakedmy head, I foughtimages ofa Baptist baptism by wondering if Voncille s real eyebrows would have grown back if her suicide attempt had been successful, and if eventually she would have lain in her coffin with two sets of eyebrows. After the shampoo, the real torture began. With the aid ofa metal rattail comb and some pink liquid in a pump, Voncille began to tear tangles from my hair, tangles that she had caused in the first place when she scrubbed my hair like she was washing away the sins ofthe world. From my perch, I began to observe all the horrors of a beauty shop that I had never noticed before: the unpleasant sight of tortured women with wire curlers in their hair and Coca-Colas in their hands; the dissonant sounds of dryers roaring, the phone ringing, a TV blaring the...

Picasso's "Guernica". A Matter of Metaphor

In Guernica Picasso uses the imagery of the bullfight. However, he reverses the relationship between the bull and a victim, the horse, by referring to the legend of Bellerophon's taming of Pegasus. In Picasso's first preliminary drawing, the tame, friendly bull is shown with the trusting horse resting by his side. As the horse gains in strength and dignity, and moves closer to the kerosene lamp, he becomes radicalized, while the bull, alienated, disappears from the scene. These developments may be observed in the drawings and photographs of various stages of the painting that have been preserved. The woman's head flying in through the window from outside represents Russia. The kerosene lamp she brings in alludes to the help Russia gave the Republican Government, the Loyalists, during the Spanish Civil War (1937). The electric bulb represents the industrial countries France and Great Britain which maintained neutrality. The significance of the kerosene lamp is emphasized by the woman on the lower right, a victim recovering from shock or trauma, who gazes intently at the lamp. The man lying on the ground, his head converted into a bust with classical associations, tells the story of Guernica.

Hearing lips and seeing voices.

MOST verbal communication occurs in contexts where the listener can see the speaker as well as hear him. However, speech perception is normally regarded as a purely auditory process. The study reported here demonstrates a previously unrecognised influence of vision upon speech perception. It stems from an observation that, on being shown a film of a young woman's talking head, in which repeated utterances of the syllable [ba] had been dubbed on to lip movements for [ga], normal adults reported hearing [da]. With the reverse dubbing process, a majority reported hearing [bagba] or [gaba]. When these subjects listened to the soundtrack from the film, without visual input, or when they watched untreated film, they reported the syllables accurately as repetitions of [ba] or [ga]. Subsequent replications confirm the reliability of these findings; they have important implications for the understanding of speech perception.

The Body Snatchers

To the Editor:— Your story of Castleton Medical College, and the front cover illustration ( 204 :698, 1968) brought to mind the body snatching episode at Castleton, told to me 75 years ago by an old man then probably in his nineties. Called by everyone Grandpa Peters, his farm surrounded the little East Hubbardton cemetery, and his home was only a few rods distant. He had known that bodies were being stolen from the cemetery. On the occasion of one raid, the body of a recently buried woman was robbed from the East Hubbardton cemetery by Castleton medical students. A large group of East Hubbardton citizens went to Castleton (led by Edgar Ganson, Myron Dikeman, and Allen St. John) and recovered the body, found hidden in the Medical College. The woman's head had been removed and slipped out by one of the students. It was a practice at that time for

Two Attic Head-Vases of the Cook Group in Leyden

The larger piece of the two Attic head-vases belonging to the Leyden Antiquities Museum which has been reproduced here under (a-b) x)was acquired as early as June 1899, when it was bought from the Greek dealer Christo Marionaky who at the time was just staying at Leyden. Said to have been found at Eretria on the island of Euboea. Height with handle 16.5 cm. The ground-colour of the clay is a pale yellowish brown. Most of the details are clear on the photographs. Intact, but for a few chips at mouth and standingsurface. The surface shows some chafing and flaking (especially at the left eye), as well as some whitish and brownish dirt-incrustations in places. The vase is in the shape of a woman's head in strictly frontal position. Trefoil mouth, upturned handle, the latter appearing circular in section. Part of the black fired into a brownish hue, especially at the back. Interior of mouth and neck black. At the nape on the exterior, the black is overlapping the uppermost portion of the neck. Three rows of clay-dots for rendering the curls of hair framing the forehead. The clay-dots show no black, but instead have received a treatment of miltos (red paint). Wreath with undulating stalk and small somewhat triangular leaves: the whole indicating ivy, painted in white (much effaced now) going around the head. White has been used for the outer part of the eyes, too. The nostrils are marked off with touches of miltos. There is no such red at the mouth. Black zone at the base of neck. Undersurface reserved, as is the interior of the vase below the neck. In spite of some blemish as to its present state of preservation, this may still be ranked as a very attractive vase.

That Word ‘Caput’

A brief survey of the indebtedness of the modern languages of Europe, and in particular our own, to the Latin word caput may be not without interest.The French did not adopt the classical meaning of caput, but, by way of the slang of the Roman soldiers in all probability, preferred the Latin testa = a tile, French tête. But caput did enter Gaul as the early French chief and modern chef (e.g. chef d'orchestre, chef de cuisine, whence, by the way, the English ‘chef’). English borrowed this word from French under the guise of chief, and from the early French word chevetaine formed the English chieftain. But in one word the French did adopt the classical meaning of caput, and that was in the word couvre-chef (modelled presumably upon the Vulgar Latin capitegium), meaning a covering for the head. This was adopted in Middle English as curchef (kerchief) and signified originally a cloth to cover a woman's head. It was an easy step from this to the modern ‘handkerchief’. Further, Vulgar Latin had a phrase ad caput venire, ‘to come to an end’, ‘to accomplish’. This was taken over into early French as a chief venir: later the verb venir was lost and the phrase a chief was made into the verb achever. Our English word achieve was the inevitable offspring.

Ship-Burial and Treasure Trove in Suffolk

THE verdict of the jury at the coroner's inquest, which took place on Aug. 14, on the Anglo-Saxon ship-burial, or rather on the grave furniture in precious metals found therein, at Sutton Hoo in Suffolk (see Nature of August 5, p. 239), was such as, perhaps, might well have been expected. It would be more than difficult to argue convincingly that a royal burial, in the circumstances indicated here by the character of the relics, could have taken place with that secrecy and intention to resume possession, which have been laid down from time to time in legal pronouncement as the essential principle of ‘treasure trove’. Unless the matter is carried further in the High Court, as Mr. L. H. Vulliamy, the coroner, indicated as a possibility, the Sutton Hoo treasure now becomes legally the property of Mrs. E. M. Pretty, the owner of the land upon which the burial was found by Mr. Guy Maynard of the Ipswich Museum. It may be hoped, however, that arrangements will be made in due course to ensure its display to the public and availability for study, as its historic interest demands. It would now appear, since there has been an opportunity for the articles to be examined and cleaned in the British Museum, that the find is far more valuable than was at first reported. This is shown in the evidence of Mr. C. W. Phillips of Selwyn College, Cambridge, who had been in charge of the opening of the tumulus since July, and also in a supplementary note contributed by The Times museum correspondent in the issue of August 15 which mentions more especially the silver. The objects in this metal include six shapely shallow bowls in almost perfect preservation, about 8 or 9 inches across, and all provincial Byzantine or late Roman. They are decorated with a broad cross, usually of a quatrefoil pattern. A silver dish decorated with a classical woman's head is provincial Byzantine work of the sixth century. A large platter, 28 inches across, was made at Constantinople, and bears marks of the reign of Anastasius I. The gold work, however, is Saxon, and is said to be extremely massive. In association were forty Merovingian coins. It is thought that this may be the burial place of Redwald, the first of the East Anglian royal family to become High King of England.

Narrow-Band Transmission System for Animated Line Images

A method of transmission and reproduction of line images is described which utilizes a cathode-ray tube for reproduction, the spot of which is made to trace out the line image 20 or more times a second. In an experimental test, a drawing of a woman's head was reproduced with an equivalent total band width of approximately 2,600 cycles. This was made up of two bands, each 1,300 cycles wide for the potentials to the two sets of cathode-ray deflector plates. Analysis of a more complex image, such as that of an animated cartoon shows that such material could be transmitted and reproduced by this method within a total band width of 10,000 cycles. Means are described for transcribing from drawing or animated cartoon film into recordings (similar to sound recordings) from which the potentials for transmission and subsequent operation of the cathode-ray tube may be obtained.

Narrow-band transmission system for animated line images

A method of transmission and reproduction of line images is described which utilizes a cathode-ray tube for reproduction, the spot of which is made to trace out the line image 20 or more times a second. In an experimental test, a drawing of a woman's head was reproduced with an equivalent total band width of approximately 2,600 cycles. This was made up of two bands, each 1,300 cycles wide for the potentials to the two sets of cathode-ray deflector plates. Analysis of a more complex image, such as that of an animated cartoon shows that such material could be transmitted and reproduced by this method within a total band width of 10,000 cycles. Means are described for transcribing from drawing or animated cartoon film into recordings (similar to sound recordings) from which the potentials for transmission and subsequent operation of the cathode-ray tube may be obtained.

Astronomical Topics

Geological Studies of the Moon.—The surface of the moon is now known in such detail, thanks to excellent photographs and persevering telescopic study, that it is possible for the geologist to trace the steps of the formation of many of the features. Prof. O. Matousek, of the Charles' University, Prague, read a paper a year ago before the Geological Society of America, which is printed in the Pan-American Geologist, vol. 54. The Sinus Iridum is the region examined; a diagram shows the variovis systems of faults, which divide themselves into groups in various directions, the parallelism of each group being very close. Two remarkable dislocations are indicated, in each of which a large region appears to have suffered a lateral shift of several miles. One is in the eastern cape, Heraclides; this is sometimes compared to a woman's head; the portion corresponding to the face has been shifted towards the north-west. The other dislocation occurs in the middle of the coastline of the bay, producing a conspicuous little promontory. Several of the faults are marked by rows of small craters, and the author considers that in these cases at least the craters are genuine volcanoes.

Indic and Indian Religious Parallels

The word 'Indian' in my title is intended as an equivalent of the uncouth 'Amerindian,' a monstrosity which I find it impossible to pronounce with equanimity. It is not my intention to point out what is common to all or to much of the savage world, such as belief in ghosts, in another world, in the mana of the inanimate, in the Hindu forms of Squantum and Tantum as shared under different names with sundry peoples, but to indicate closer resemblances between the Indians of the East and of the West. Not often do we find religious groups so isolated. All the religions of antiquity were more or less fused. Sumerian, Babylonian, Egyptian, Greek, Roman, Celtic, the general foundation of European superstition, even the animal-gods of Africa and the Western origin of Japanese and also of Chinese culture-these are debatable topics bristling with queries. And now too we find even Irndia invaded and the Persian conquest anticipated by the Assyrian; nay, even the Seven Stars that used to shine so naturally above the Panjab are at present marked 'made in Babylon.' But thus far the genuineness of Indic invention has not yet been impugned to such an extent as to make it probable that our Redskins ever provided India with its religious beliefs, while only a few daring souls have ventured to urge that the primitive culture of America derives from the reckless merchants of Egypt or from the devoted missionaries of the Buddhist church. We have then an unusually fair field or two fair fields in which to study religious flora and fauna presumably of independent creation. That no sane historian believes in a common root or seed of the growths found therein, this fact makes what in itself would be merely an interesting collection of parallels a valuable exhibit, in that it demonstrates how near and yet how far may be religious phenomena alike in form yet diverse in origin. A parallel which elucidates a custom may well serve as a beginning. In Sanskrit literature we have numerous references to the vermilion line traced on a woman's head at the parting of the hair. In epic and drama it is always spoken of as a mere