Payam Akramipour; Nafiseh Sharifi
Abstract
A Gender Analysis of Posters of fourth and fifth City Council Elections in Cities of Tehran, Shiraz and Ahvaz in Iran This paper is an interdisciplinary study based on a qualitative analysis of gendered aspects of eight election posters for the fourth and fifth City Council elections in Tehran, ...
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A Gender Analysis of Posters of fourth and fifth City Council Elections in Cities of Tehran, Shiraz and Ahvaz in Iran This paper is an interdisciplinary study based on a qualitative analysis of gendered aspects of eight election posters for the fourth and fifth City Council elections in Tehran, Shiraz, and Ahvaz. This paper examines how femininity and masculinity ideas, gender stereotypes, and gender roles are represented in male and female candidates' election posters. The candidates' posters are collected through selective sampling among available election posters on the Internet. By applying Berger's critical gendered analysis and theories of nonverbal communications, this paper looks at candidates' embodiment, physical appearance and gaze. More importantly, this theoretical aspect is combined with comments about the technical elements of posters such as lighting, Photoshop, and graphics and their effects in reproducing and recreating gendered stereotypes. This paper argues that while female candidates are represented as objects of the male gaze by emphasizing their physical beauty and embodiment, men's appearance and body language signify power, ability to change, decisiveness and problem-solving. Finally, this paper shows how, even in political posters, men and women are represented based on the binary understandings of active/male and passive/female sexualities. By looking at the gendered meanings behind the candidates' election posters, this paper discusses the significant role of media, photography, and representation in reproducing gender roles. Also, it emphasizes the use of photographs as a qualitative research method for understanding the gendered aspects of Iran's current socio-cultural context. .
Art
Sare Tahmasbizade; Mohamad Ebrahim Zarei
Abstract
In the early Qajar period, many travelers provided unbelievable information about women. The beauty of Iranian women is one of the points that European tourists have come to appreciate. We can also see the reflection of this beauty in the paintings of this period. But the point that attracts attention ...
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In the early Qajar period, many travelers provided unbelievable information about women. The beauty of Iranian women is one of the points that European tourists have come to appreciate. We can also see the reflection of this beauty in the paintings of this period. But the point that attracts attention is the remarkable difference between the women's survivors of the Qajar period with travel writings and paintings of this period. What has been studied in this research is to validate the accuracy of the Qajar women's background based on archaeological evidence. The collection of materials in this library research is written in a historical-analytical way. Accordingly, the questions of this paper are as follows: How is the apparent image of women in paintings of Qajar period to compare with other archaeological evidence? Is there any difference in the apparent appearance of the women left behind the archaeological evidence of the Qajar era, what factors has caused this difference? The results of the surveys show that we are seeing some kind of difference between the concepts of the pictures left and those of the paintings in this period. In the Qajar period, the painters have tended to face the idealism and lack of simulation. Therefore, it can be said that women in the paintings of this period are instrumental in expressing the glory of power and monarchy.
Alireza Baharloo; Sedigheh Aghaee; Abolghasem Dadvar
Volume 3, Issue 2 , January 2012, , Pages 25-38
Abstract
Feminist art is one of the main branches of art and is a substantial artistic movement in the west during the 20th century whose artists move toward challenging art and its identification in connection to gender.
Feminist art considers the whole effective elements on the artwork and subjects as emotional ...
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Feminist art is one of the main branches of art and is a substantial artistic movement in the west during the 20th century whose artists move toward challenging art and its identification in connection to gender.
Feminist art considers the whole effective elements on the artwork and subjects as emotional conditions of women, women’s rights, violence and discrimination against women, politics and natural environment. It highlights the point that the whole art world is devoted and dedicated to men. Art history confirms this fact. So from this viewpoint, presenting and answering a series of questions, is inevitable. Questions such as these: Why doesn’t the art history include prominent women? Why is a woman’s dignity and position underestimated in art? In what ways can we promote feminist tendencies in art? Should women’s art be different from the one that is produced by the opposite sex?
In such a condition, a group of artists appear in art world with the aim of removing and solving ambiguities and on the other hand challenge the present situation by using their ideas and artistic media. Barbara Kruger, the American photographer, is one of the most prominent examples of this case. Kruger, in fact, moved toward criticizing the current condition by using photos and applying its techniques in favor of expanding women’s tendencies. Her photos hold a hidden reality in the subject that what we see is no longer believable and what is seen is not what that is perceived.
This article aims to represent such subject matters by considering women’s attitudes in the present age and by taking a look and analyzing Kruger’s photos, works and beliefs.
