Photographs Of Women Research Articles

Maryam Şahinyan as a Pioneering Woman Photographer

Maryam Şahinyan, Osmanlı’nın son dönemlerinde fotoğrafçılığa başlamış önemli bir kadın fotoğrafçıdır. Suretin tabu olarak görüldüğü bir dini motif içerisinde hem fotoğrafın hem de kadın bireyin fotoğrafla uğraşıyor olma fikrinin kabul görmesi oldukça zor olmuştur. Ayrıca Şahinyan’ın İstanbul’a taşınmak zorunda kaldığı sürece bakıldığında, dönemin kendisi için zorluklarla dolu olduğu görülebilmektedir. Bu çalışmanın amacı, Maryam Şahinyan’ın bu zorluklarla birlikte azınlık kimliğine rağmen, toplum içerisinde kabul görmüş öncü bir kadın fotoğrafçı yönünü ortaya koymaktır. Çalışma, nitel araştırma yöntemi içerisinde doküman/metin analizi yöntemi kullanılarak oluşturulmuştur. Şahinyan üzerine yazılan kaynaklar taranmış ve kendisinin çektiği fotoğraflara ulaşılmıştır. Şahinyan üzerine yeterli kaynağın bulunmaması, araştırmayı güçleştirmiş olsa da benzer araştırmaların daha rahat yapılabilmesi açısından çalışmanın önemini ortaya koymaktadır. Çalışmada aktarılan bilgileri desteklemek ve onlara derinlik katması bakımından Şahinyan’ın kendi objektifinden çıkan fotoğraf örnekleri de kullanılmıştır. Çalışmanın bulgularını oluşturan fotoğraflara bakıldığında kendisini tercih eden müşterilerinin farklı sosyo-kültürel özellikleri, Maryam Şahinyan’ın dönemine göre ne derece öncü bir fotoğrafçı olduğunu göstermektedir.

Preoperative three-dimensional simulation of the breast appearance after wide local excision or level one oncoplastic techniques for breast-conserving treatment does not set unrealistic expectations for aesthetic outcome: One-year follow-up of a randomised controlled trial

IntroductionSimulation of aesthetic outcomes of wide local excision and level one oncoplastic breast conserving treatment (BCT) using 3-dimensional surface imaging (3D-SI) prepares women for their aesthetic outcome. It remains unknown whether women’s memory of this information at the one-year follow-up matches their perception of reality or affects the quality of life. MethodsWith ethical approval, a prospective 3-arm RCT was conducted and it included 3D-simulation, viewing post-operative 2D photographs of other women and standard care. At one-year post-surgery, the participants completed a visual analogue scale (VAS) for the question “How well do you think the information about how your breasts are likely to look after surgery reflects how they actually look today?” and the BCT BREAST-Q module. The Kruskal–Wallis test was used to examine between-group differences at a 5% significance level. ResultsFrom 2017 to 2019, 117 women completed the primary endpoint of being informed about the aesthetic outcome via verbal description, photographs or simulation. Seventy-eight (74%) of the 106 women who remained eligible attended the one-year follow-up. The standardised preoperative 3D-SI simulation did not affect the patient’s perception of the aesthetic outcome compared to standard care or viewing 2D photographs as measured using the VAS (p = 0.40) or BREAST-Q scores for satisfaction with information (p = 0.76), satisfaction with breasts (p = 0.70), and psychosocial wellbeing domains (p = 0.81). DiscussionViewing their own 3D-SI standardised simulation did not significantly affect how the participants perceived their aesthetic outcome. In addition, it did not alter the patient-reported satisfaction. These results demonstrated that simulation for wide local excision or level one oncoplastic surgery does not set unrealistic expectations of the aesthetic outcome when used in a preoperative setting. SynopsisThe use of a non-bespoke three-dimensional simulation of the aesthetic outcome for breast conserving treatment in the preoperative setting does not over-inflate expectations compared to standard care.

Female Gazes in the Communist Movement: Women Photographers in the Interwar Period and World War ii

Abstract Women participated in communist movements and contributed to communist culture. At the intersection of women’s history, visual arts, gender studies, history of socialism, and the history of communism, this article focuses on six women photographers—Tina Modotti, Elizaveta Mikulina, Gisèle Freund, Lisette Model, Julia Pirotte, and Gerda Taro—analysing the circulation of their works in the communist press and in circles sympathetic with the communist cause. The research on women photographers’ gazes contributes to a deeper understanding of both the lager networks of communist movement and the multifaceted aesthetics of communist culture. By crossing women’s lives and works, their subjectivity and political paths, the documental and artistic legacy of the images they have produced, the article demonstrates why and how women photographers’ production intersects communist culture during the Comintern and World War ii.

Retranslating, repackaging, and recontextualizing Simone de Beauvoir’s Le deuxième sexe in the Turkish context with an invisible feminist translator

ABSTRACT This article analyzes the Turkish retranslation of Beauvoir’s Le deuxième sexe, translated by Gülnur Acar Savran and published by Koç University Press in 2019, with a focus on the receiving cultural context. The study aims to problematize the fact that the female translator of this ‘feminist retranslation’ is often overlooked. To examine the publisher’s motivations for retranslating this work, the paratextual elements are compared to the previous translation. The previous translation was published in three volumes, each with a different subtitle inspired by the second volume of the original text. Additionally, the use of photographs of women on the front covers and the emphasis on the scandalous nature of the text on the back covers did not promote its feminist content. The main argument is that the new translation reintroduces the source text as a feminist classic to a new readership in Türkiye, with the added benefit of the translator and publisher’s ideological and academic background, without giving due credit to the translator. My analysis on the paratextual level and the current discussion about Acar Savran's invisibility as a retranslator have led me to problematize the issue within feminist translation studies, referring to the double invisibility of women as translators.

HOW DOES WEARING A FACE MASK AFFECT PERSONS TRUSTWORTHINESS AND ATTRACTIVENES

Face masks became a necessary part of everyday life during the Covid-19 pandemic. Prior to the pandemic, most people associated face masks with health care facilities and immunocompromised people. This effect leads to a lower evaluation of the attractiveness of the wearer's face. People's attractiveness correlates with trustworthiness and willingness to communicate. This study examined how the Covid-19 pandemic affected people's perceptions of attractiveness and trustworthiness when looking at faces with face masks. To investigate this question, research participants were presented with a series of photographs of men and women who were divided into three attractivity groups, wearing a black face mask, a white face mask, a blue surgical face mask, and faces without masks. A total of 209 respondents participated in the survey, 80.9% were female and 19.1% were male. Of these, 42.1% of respondents said they were in a relationship and 57.9% said they were not. As many as 80.9% of the respondents were aged between 18-25 years, 10% of the respondents were aged between 26-30 years and 9.1% of the respondents were aged above 30 years. The average age of respondents was 23.6 years. The results showed that the least attractive and trustworthy were the faces without face masks. Faces covered with a black face mask were perceived to be the most attractive and trustworthy. A statistically significant difference was found between men's and women's ratings of trustworthiness and attractiveness in favour of women. The influence of gender, age and relationship status of raters (respondents) on the attractiveness and trustworthiness ratings of models.

Anthropometric Analysis of the Faces of Chinese Women in Leadership Roles.

The aim of this study was to investigate the appearance of the faces of Chinese women in leadership positions through an anthropometric analysis of Women of China from 1949 to 2022. Photographs of cover women of Women of China were gathered and a total of 380 frontal and 101 lateral photographs were collected. The photographs were divided into 3 time phases: phase I (1949-1978): from the launch of Women of China magazine, up until the time of reform and opening; phase II (1978-2010): from the time of reform and opening until when Google China was blocked; and phase III (2010-2022): to the present. The horizontal corneal diameter (11.52mm) was set as the reference value for the frontal face. The anthropometric results showed the width of the face, midface, and lower face decreased over time. The women at phase I had larger and round faces, smaller and narrower eyes, wider noses, and thicker lips; relatively masculine and hard-working woman image, as the occupations of women were mainly described as workers, farmers, and civil servants. Phase II showed smaller but still round faces, relatively wide-set round eyes, narrower noses, and smaller lips than in phase I; neutral features as skilled workers, engineers, entrepreneurs, civil servants, and researchers. Phase III showed oval faces, almond eyes, narrower noses, smaller full lips, and wider chins, reflecting a process of feminization; working in entertainment, sports, and science. The data from this study might serve as the recommended aesthetic proportions when performing plastic surgical procedures for talented woman.

Photography between Publicity and Politics

Georgina Karvellas was one of the few women photographers documenting apartheid South Africa for several decades. She produced work for the fashion and music sector next to striking documentary work with a clear stance against the government’s segregationist policy. Inscribing Karvellas into the histories of photography, film and art, this article highlights the intersections of her work between commercial and political photography as well as between issues of gender, race and class through a careful reading of the various frameworks into which it has been placed and the reasons for them. As she worked at a time when the freedom of movement of South Africa’s majority population was severely restricted, a particular focus is on Karvellas’s transnational approach and the question to what extent her choice of commercial photography might have closed doors for her, such as inclusion in the artistic canon, while giving her greater freedom in crossing borders.

Stories in photos: framing styles of women athlete images on Instagram

The present study aims to determine the ways in which sports content producers in traditional and new media tools in Turkey frame the images of women athletes on Instagram. In the study, the ways in which television, newspaper and digital sports content producers with the highest number of Instagram followers in Turkey visualize women athletes in the news during international organizations were examined using the netnographic method. Study considered only n = 126 women photographs among the analyzed n = 5382 posts in this context and specified that n = 78 of those n = 126 photos belonged to women athletes. While women athletes stand out more prominently on Instagram in cases of failure, these instances of failure are visualized through images of crying, kneeling and covering their faces, framing helplessness. On the other hand, it was determined that women athletes were presented as sexual objects in the images used and that their body lines were highlighted.

(In)visible Subjects: Pranlal Patel's Women at Work in Ahmedabad, India, 1937

Approximately one hundred photographs of women at work in the city of Ahmedabad, India, were taken in 1937 by Pranlal K. Patel, at the request of the premier women's social reform organization, the Jyoti Sangh. Rather than depicting women's contributions as peripheral to the productivity of Ahmedabad's economic life and isolated from the public, Patel pictured women as subjects working in the city's major marketplaces and as integral to the city's industrial productivity. This article argues that historical photography may provide what Elizabeth Edwards terms a “historiographical think-space” that challenges conventional historical sources and the narratives they produce. By engaging Ariella Azoulay's ethical spectators in the civil contract of photography, historians can use historical photography to confront the historical roots of inequality that shape our world today.

Rare Merit: Women in Photography in Canada, 1840–1940 by Colleen Skidmore (review)

Rare Merit: Women in Photography in Canada, 1840–1940 by Colleen Skidmore (review)

Representing Bodies and Identities in Global Exhibitions The Case of Female Photography in the Japanese Pavilion at the Venice Art Biennale

The paper focuses on Japanese female photographers in international art exhibitions. Until recently, Japan’s photographic field was predominantly male‑dominated. Traditionally, women were considered incompetent with technical equipment and this long-enduring stereotype limited them to passive roles as models. However, from the late 1980s/early 1990s, a shift occurred, with female photographers gaining prominence. In parallel, the representation of Japanese women artists in international venues started to rise and more names began circulating in the global art circuits. This essay inspects in particular one of the most important events on the scene: the Art Biennale in Venice, the oldest and most prestigious of these large-scale exhibitions. Two important shows, held respectively in 2005 and 2009 at the Japan pavilion of the Venice Biennale, provide the starting point for this analysis: they were the only exhibitions ever dedicated to women photographers by the pavilion in its 70‑year‑old history. The artworks of Ishiuchi Miyako and Yanagi Miwa were showcased, two of the most important women photographers in recent years.

Из фондов Музея антропологии МГУ. Фотографии народов Северного Кавказа в экспозиции Антропологической выставки 1879 года: кабардинцы и шапсуги

Introduction. Since the early 1860s photographic practice has become an integral part of the scien-tific process and one of the main methods of ethnographic and anthropological research in Russia. In the course of preparations for the first Ethnographic Exhibition in Russia (1867), organized by the Society of Devotees of Natural Science, Anthropology and Ethnography (OLEAE), the Photographic Commission established by the Exhibition Committee (1866) developed a regulation on the execution of photographic portraits of the local population. In 1872 the first “instructions” in Russia for ethnographic and anthropological photography were published. Materials and methods. The source for the preparation of the article was a collection of photographs collected by E.D. Felitsyn (1848-1903) and presented at the Anthropological Exhibition of 1879 in Moscow. Currently, it is stored in the funds of the D.N. Anuchin Research Institute and the Museum of Anthropology, M.V. Lomonosov Moscow State University. Results and discussion. Photographs of representatives of two nationalities - Kabardians and Shapsugs, who lived in the Kuban region, are described and analyzed: the villages of Blechepsinsky and Khodzsky (currently the village of Blechepsin and the village of Khodz of the Koshekhablsky district of the Republic of Adygea), Khokhondukovsky and Kasaevsky (currently the village of Ali-Berdukovsky and the village of Khabez in the Khabezsky district of the Karachay-Cherkess Republic) and the village of Kudzhirsky in the Maikop district, that was located on the left bank of the river Farce and abolished in 1885. These are: 3 photographs of children (6 and 8 years old), 7 photographs of men (18-58 years old) and 5 photographs of women (18-60 years old). A description of the depicted national clothes is given, as well as a summary of literary anthropological information about the Kabardians and Shapsugs of this period. Conclusion. The first published photographs of representatives of the two peoples of the North Caucasus living in the Kuban region in the second half of the 19th century make it possible to visualize some aspects of the historical information that scientists have at their disposal, to clarify the available anthropolog-ical, historical and cultural data on the Kabardians and Shapsugs, and also are an addition to the historical, archaeological, anthropological, genetic and ethnographic studies of the peoples of the North Caucasus @ 2023. This work is licensed under a CC BY 4.0 license.

Slaughterhouse (Macello)

<i>Slaughterhouse</i> (Macello)

From the “Lager Lovelies” to “The Feminist”: Tennent’s Lager Marketing, 1960–1997

This article traces the marketing of Scottish brewer Tennent Caledonian’s “Lager Lovelies” beer cans, which featured sexualized photographs of women, from the initial production of the cans in the 1960s to the rebranding of Tennent’s Lager in 1997. The article considers the development of the cans and situates the marketing in the social and historical context. Oral history interviews with former models, industry employees, and people who remember the cans provide insights into people’s attitudes toward the marketing. The images on the cans are examined using visual discourse analysis, which shows that the marketing was derivative of the pervasive sexual objectification of women’s bodies in media and pornography. The marketing of the cans to White heterosexual men is located within twentieth-century capitalism and patriarchal structures that enabled Tennent’s to commodify and objectify women and eroticize an everyday activity like drinking lager. The article considers the end of the Lager Lovelies cans in the early 1990s and the subsequent attempt to reposition Tennent’s Lager in 1997 as a desirable alcoholic drink for younger generations.

Under mother's eyes: Black gaze, state violence, and resilience in Rio de Janeiro

ABSTRACTIn 2009, French street artist JR appeared in the oldest favela in Rio de Janeiro and started taking photographs of women who were collectively mourning the recent slaughter of three teenagers. In a communal effort, these black‐and‐white portraits were reproduced at an enormous scale and pasted onto the favela's facade. Up close, the images were so big that they seemed to have no particular form. But from a distance, the faces assembled, revealing women's eyes gazing steadily at the city beneath the favela. In this article, I explore how the installation can be understood as a commentary on gendered and racial state violence against Black motherhood. I turn to the images as ethnographic subjects to theorize ways Black femininity is constructed, experienced and understood in Rio. The central question I pose in this article is about the power and potential of the motherly gaze to replace the violent male stare—the one that misrepresents and disempowers those most vulnerable to distortion's ill effects. I make the case that the (bri)collage is a call to further examine the relationship of poor Black mothers with the state, how they combat negative public representation ascribed to Black youth, and how they negotiate the safety of their families.

Association between Facial Metrics and Mate Rejection for Long-Term Relationship by Heterosexual Men

Investigations on mate choice in humans frequently report preferences, but there is little knowledge about what is important for rejection by a potential mate. The present study aims to verify if facial asymmetry and facial disharmony have an influence on mate rejection by men. We hypothesized that more asymmetric and disharmonious faces would be more rejected. For this purpose, photographs of women’s faces were presented in pairs by self-declared heterosexual men. It was requested they reject one of the faces as a potential mate for a long-term relationship. Women’s faces were also analyzed to measure facial asymmetry and facial disharmony. We used a linear mixed model to evaluate the effect of the cited metrics on each face’s number of rejections. We found that the female metrics influenced mate rejection only if associated with male age and income. The older participants rejected female partners with asymmetric faces. We suggest that aging makes men more demanding in mate choices, at least considering facial asymmetry. We concluded that rejection could be a key variable in mate choice studies, but further research is needed to clarify its effects.

Woman as Battleground

This article examines how photographs of women taken by Marc Garanger during his army service in Algeria (1960–1962) have become sites of multiple, often competing mnemonic projections. At the height of the Algerian War of Independence, Garanger produced nearly two thousand identity photographs of those displaced by the French army from villages to detention camps. The photographs of women are some of the most cited images from the war, having been popularised through Garanger’s own photobooks. They are either read as strictly exploitative or, following Garanger’s narrative, as bearing witness to Algerian suffering. The article departs from attempts to fix the ‘true’ meaning of these images and examines their afterlives, while reflecting upon the hyper-visibility of women as images. It discusses newly recovered archival material, alongside Garanger’s decision to return to Algeria in 2004, revealing inconsistencies in Garanger’s carefully crafted narrative and reflecting upon the speculative futures of these contested images.

Rare Merit: Women in Photography in Canada, 1840–1940

Rare Merit: Women in Photography in Canada, 1840–1940

SOCIAL EXCLUSION OF WOMEN REFUGEES IN PUBLIC IMAGINATION: UNDERREPRESENTATION AND DEPERSONALISATION

This paper studies the news images of Syrian women refugees and the representational practices employed in them to question how these portraying practices position women refugees, and how they actually act as ways of socially excluding them in the host community. Analysed are the newspaper photographs of Syrian women refugees published in top-selling four Turkish newspapers in 2015. Using a content analysis fed by visual analysis, the ways of visually portraying women refugees is studied by investigating the representational elements and practices in the images, which are subject, theme, camera distance, camera angle and location. The findings reveal that Syrian women refugees are underrepresented and in the rare cases of their appearance, the way they are portrayed position them as distant, passive and depersonalised subjects as part of the masses. The underrepresentation and depersonalisation of women refugees, who are among the vulnerable women group 1) erase the individual life stories and varied lived experiences of women refugees from public imagination and deny the female refugee agency, 2) prevent the emergence of the public talk on the women refugee problems, which in turn 3) prevent the formation of a social understanding and empathy towards women refugees. Thus, it is argued that the ways in which Syrian women refugees are portrayed in the media act as barriers for their social inclusion.

A Different Lens: Pegg Clarke, E. G. Shaw and the History of Australian Women’s Photography

Many women were actively engaged in photography in Australia from the nineteenth century. However, women’s contributions to the field are under-represented in extant histories of Australian photography, particularly photography prior to the 1970s. This essay explores some of the reasons for that erasure and offers two acts of historical and textual recovery. Drawing on new archival research, I examine the lives and work of two little-known Australian women photographers of the early twentieth century: Pegg Clarke and Eleanor Georgina Shaw. Pegg Clarke (1890–1956) was a successful studio, portrait and art photographer who was active from the 1910s through to the 1950s. Eleanor Georgina Shaw (E. G. Shaw; 1870–1954) was an amateur street, urban and architectural photographer who was active in Sydney from the 1910s through to the 1930s. In navigating some of the epistemological and practical challenges of working with these archival collections, and at times engaging in what Saidiya Hartman calls ‘critical fabulation’, I weave together the fragmentary remains of these two women’s careers in an attempt to place them on the critical map. I also offer some speculations as to how their work might provide an opportunity to revise, if in modest ways, extant histories of Australian photography.