| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "GENDER ROLES AFRICAN ROYAL ART": |
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Gender Roles in African Royal Art, 2004.
This paper discusses the feminist interpretation of art from the Yoruban African society.
1,585 words (approx. 6.3 pages), 11 sources, MLA, $ 51.95
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Abstract
This paper explains the use of iconography, the study of images in search of the thoughts and meanings imbued by the artist and transmitted to the viewer, as applied to African royal art. The author points out that, in the Yoruba society, women have a distinct and celebrated role within the community, unlike Western societies. The paper stresses that the crown of the King of Yoruba may be interpreted as representing male power and dominance, but it may also be interpreted as a representation of the cooperative nature of ruling by both male and female within the Yoruba culture.
From the Paper
"The feminist slogan of ?the personal is political? became a banner under which Western women determined to change the social fabric - attacking the norms and mores that had excluded women from participation in all areas of living. The feminist definition of social roles was grounded in an affirmation of women's attributes and contributions, not just of social relations. The Yoruba form of social interaction was not based on individualism, as is the Western concept. ?The Yoruba Iyalode (also called Eiyelobinrin or ?mother of all women,?) was often the head of a lineage as well as, ?the woman designated as their political leader and spokesman in government?. Her title as ?chief? gave her jurisdiction over all women within her sphere of influence. She established courts and heard cases, creating a chain of authority that oversaw women's affairs, including the administration of the all-important markets."
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Japanese and African Art, 2005.
An examination of how Japanese and African art have impacted Western art.
1,054 words (approx. 4.2 pages), 3 sources, MLA, $ 37.95
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Abstract
This paper explains that as explorers and empire builders brought back tales of exotic places, they also carried back with them artifacts and works of art from these "newly discovered" cultures and civilizations. The writer notes that as Western artists began to examine the artistic productions of different peoples - in particular the Japanese and the Africans - they discovered that strict realism and classical design were not the only possibilities. The flood of Japanese prints and African carvings and bronzes that reached Europe and America were to herald the beginning of a whole new era in Western art.
From the Paper
"Japanese prints inspired Western artists, such as Gaugin and Monet, to adopt the angular perspective of the Japanese masters. The picture plane became a set of intersecting planes positioned at different heights along the painting. This was a clear rejection of the traditional "scientific" methods of perspective representations that had been in use in Europe for hundreds of years. As well, European artists began to experiment with the bold color palettes of ukiyo-e. In the works of Toulouse-Kautrec, too, the influence of the Japanese woodblock artists can be powerfully scene. Toulouse-Lautrec's colors, perspective, and even subject matter owe a profound debt to these new influences. In fact, it could be said that Toulouse-Lautrec's lithographs represented a European interpretation of long-established Japanese genre. Much as the great ukiyo-e artists portrayed the "demimonde" of Tokugawa Japan, so too were these same actresses, prostitutes, and assorted habitues of the Paris underworld portrayed by Toulouse-Lautrec."
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African Art, 2004.
Takes a look at African art forms, with a focus on art from Benin and Sierra Leone.
908 words (approx. 3.6 pages), 4 sources, MLA, $ 32.95
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Abstract
This paper talks about some of the art produced in Benin and Sierra Leone and why so much of the more ancient art of that region no longer remains. The paper then describes art from Benin that is approximately 500 years old and more recent artwork from Sierra Leone made in the 19th century. The naturalistic heads and bodies of the Ife tribes of Benin and the Nowo masks from Sierra Leone are described, and the materials and techniques used are explained as well. Images of both types of art are included with the paper.
From the Paper
"Art from Benin, located in the rainforests of Nigeria on the coastal plain west of the Niger River, first came to the Western world in 1897, when members of a British expedition took out thousands of objects as war plunder after the English conquest. Through government and private sales, Benin sculptures were soon found on the shelves and displays of museums and personal collections in England, Europe and America (Ben-Amos, 9). The art of Benin is unique in Africa, due to its unusual makeup of cast brass and carved ivory. Much of artwork from this country acts as a heritage to the Royal Kingdom of Benin, one of the greatest times in the continent?s history (Ezra, 2)."
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African Art, 2003.
A discussion on African art and its Western interpretation.
690 words (approx. 2.8 pages), 4 sources, MLA, $ 23.95
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Abstract
This paper discusses how Western cultures have misinterpreted, misjudged and ignored African traditional artistic production. It examines the relegation of African art to the field of anthropology rather than art.
From the Paper
"Traditional African artistic production has historically been misinterpreted or largely ignored by Western scholarship. Essentially, African art was relegated to the study of anthropology rather than formal art and thus was thought of as primitive, insinuating ..."
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Gender and Art, 2002.
A discussion of three art works and how gender issues, most notably feminism and representations of women, can be seen through art.
1,340 words (approx. 5.4 pages), 4 sources, MLA, $ 45.95
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Abstract
Artistic representations, depending on how they are read, often reveal through their texts ideas about sexuality and/or gender. Discussed here are three works, all of which can be read through the lenses of various topics. Allie Eagle's "This Woman Died: I Care" (died trying to abort herself) involves the politics of protest, Carole Shepherd has worked against specific traditions with her photo-collage, "John", and George Elgar Hick's "Woman's Mission: Companion of Manhood" deals closely with gender identity.
From the Paper
"Protest instantly becomes political within the context of an image, due to the viewer?s prior preconceptions regarding the issue under scrutiny. Opinions are challenged, and important questions consequently raised. ?This Woman died: I care (died trying to abort herself)?, by Allie Eagle (New Zealander) in1978, is an image from which a clear form of political protest can be easily identified. The image can be read in a way that distinctly illustrates an objection against the (suggested) violence forced upon women by society?s codes of behaviour. It can also be read as a reaction to the question of the legality of abortion, which at the time was under review in New Zealand. In itself the title influences the viewer?s interpretation of the image, whilst its visual features serve to demonstrate Eagle?s lamentation."
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Ancient African Art, 2008.
A discussion of forms, functions and themes in West and Central African art.
1,063 words (approx. 4.3 pages), 1 source, APA, $ 37.95
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Abstract
This paper analyzes human portraiture in ancient African art. It explains that some of the earliest and most sophisticated forms of self-representation via art come from west and central Africa and the visual artistic output of these portions of the continent easily rival that of Europe some 1500 years later. The paper points out that the first known examples of such projected human images generally came in the form of sculpture and this method of portraiture resulted in a legacy of sophisticated human countenance pieces that demonstrated a cross-section of abstract interpretation and perhaps the first example of naturalism. The paper notes that the use of portraiture was generally only reserved for royalty and most of what we know today about this comes from an assimilation of oral tradition and interpretive archaeological intuition. The paper also looks at the earliest traceable discovery of human portraiture in Nigeria - the Nok era. The paper discusses the exclusivity of portraiture and looks at how the naturalistic tendencies of representation suggest that these likenesses were designed to reflect the appearance of specific individuals.
From the Paper
"The earliest traceable discovery marking such qualities is the Male Head Nok, so named for the Nok region of Nigeria from where it was excavated. The Nok era denoted by the head is regarded as occurring around 500BC and lasting until 200AD. It is indicative of that time by its terra cotta composition which reflects a common form for portraiture at the time. This was concurrent with the Iron Age, so much forging of iron was also part and parcel of artistic expression. In addition, wood carving would come to take on a significant role in portraiture. The Male Head Nok, featuring a dramatically up-scaled crown, a narrow but upwardly widening head, broad eyes and deeply flattened nostrils. The man depicted here helps both to preserve some possible physical characteristics of the ancient subject and to give future generations an indication of the interpretive elements involved in rendering human likeness."
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African Art, 2005.
This paper discusses Gelede Masks, a category of African art, from a masquerade cult, mostly located in a region of southwest Yorubaland. .
675 words (approx. 2.7 pages), 5 sources, APA, $ 23.95
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Abstract
This paper discusses the importance of understanding the African culture which underlies art forms from Africa. The author points out that these masks are dedicated to appeasing the potentially powerful and destructive force of women, addressing male anxiety about female power. The paper provides a historic and thematic overview of Efe and the way these masks were used in the spectacle.
From the Paper
"A Yoruba proverb says, "What follows six is more than seven. (Ohun tio wa leyin Offa o ju Oje lo)." The proverb suggests that we must look beyond what is easily observed if we are to understand something. Relating it to the study of African, art we must try to understand an artwork in its cultural depth as the expression of the local thought or belief systems lest we unwittingly remove the African in African art. Abiodun African art has a special sense ..."
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Gender and Art, 2002.
This paper discusses the commentary of Susan McClary who looks at early nineteenth century art with reference to gender.
1,910 words (approx. 7.6 pages), 6 sources, MLA, $ 60.95
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Abstract
McClary brings the idea that during the early nineteenth century, concepts such as identity and masculinity were being newly defined, with art being one of the defining processes. This paper introduces some examples from art of this period, looking at the commentary of McClary to illustrate this theory. According to the paper, it is difficult for readers and listeners to separate the biographical details of the artist from the work.
From the Paper
"Schubert, on the other hand, was not a well-known composer in his own time. By the time his work became open to criticism, Beethoven's work so dominated the critical mind as the epitome of German manhood that critical response to Schubert's work was labeled feminine. If Beethoven's directness, violence, and ferocity in his music was male, surely Schubert's flexibility and lack of tonal anchoring, engendering sympathy and attraction, were female. At least, this was the way critics of the period viewed the difference."
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Labour, Gender and the Arts, 2006.
A discussion regarding women in the 19th century and how the arts and imagery of the period, romanticised the position of the woman.
1,125 words (approx. 4.5 pages), 6 sources, $ 44.95
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Abstract
This paper discusses the feminist perspective that throughout the 19th Century, there was often still an overwhelming sense of romanticism and nobility instilled in the imagery that did not reflect real women let alone the true hardships and lack of opportunities for women. This paper then argues that women still were seen in outmoded ideas of womanhood and imagery that often did not reflect real women of the time.
From the Paper
"Throughout the 19th century, the role of women in society changed greatly with the advent of the industrial age despite resistance the pressure of Victorian sensibilities and a patriarchal society. Partially as a result to economic needs, partially as a result of changing perceptions, women began to demand to enter the employment world; engaging in labour outside of their traditional roles (Tusan, para. 4). Images of these changes played out in visual imagery of the time including painting and graphic arts. Images of women in these disciplines reflect the residual Victorian aesthetic of the role of women as housewife, care-giver to decorative nude to the independent business woman."
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African Art and Repatriation, 2007.
A debate over the importance of cultural repatriation of the Lega figure to the people of Congo.
715 words (approx. 2.9 pages), 2 sources, MLA, $ 25.95
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Abstract
This paper discusses the issues surrounding cultural and artistic repatriation, which remains one of the most contentious debates within the international archaeological and artistic community. The paper specifically discusses the Lega figure and the arguments for and against its repatriation, for cultural reasons, to the people of Congo. The paper then draws a conclusion as to the best course of action to take, regarding this piece of work.
Table of Contents:
Basic Criteria For Repatriation
Argument In Favor Of The Return Of The Selected Object
Argument Against The Return Of The Selected Object
Conclusion
From the Paper
"However, merely because using the Lega figure as teaching tools in museums to different nations of the world does not justify the cultural loss to the people of the Congo, who originated these works to be part of their religious tradition, not as artifacts to teach the nations who exerted colonial domination over their territories. Also, even if the Lega figures are individualistic, this does not take away from their ritual significance. Finally, the idea that Western art scholars only approved of the Lega after recognizing the individual component added by certain creators shows that the Lega remain judged by Western standards, and not by the indigenous standards of their local community--the repatriation and relocation of the works may be necessary so the world can be educated in the contextual significance of these figures as well as judged by Western standards."
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Art and Pop Art, 2002.
A comparative analysis of art with pop art using the works of Andy Warhol and Leonardo Da Vinci.
1,150 words (approx. 4.6 pages), 6 sources, $ 44.95
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Abstract
This discusses art and pop art, and distinguishes between the two by noting the characteristics of each form. As examples of each, two works of Andy Warhol are compared and contrasted to Da Vinci's "Last Supper" and Rembrandt's "Syndic of the Clothmaker's Guild.
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The "Art" of Art Forgery, 2002.
Shows that forgery is more than just a copying process, involving complex techniques found in art.
2,900 words (approx. 11.6 pages), 5 sources, $ 106.95
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Abstract
This paper examines the skill involved in producing 'true' forgeries within the world of art. It is stressed that the forger is to be seen as an artist, in that he or she must sometimes enter the mind of the original artist, master his or her techniques,and otherwise execute works that can withstand the expert eye. Forgery is a normal aspect of the art world.
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Cross-Cultural Gender and Gender Relations in Horticultural Societies, 2002.
This paper examines the gender roles in horticultural societies.
1,990 words (approx. 8.0 pages), 3 sources, MLA, $ 63.95
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Abstract
This paper shows the difference that agriculturists, sedentary lifestyles, and social differentiation made in gender relationships.
From the Paper
"The first evidence of agriculturists, sedentary lifestyles, and social differentiation that archaeologists and anthropologists have distinguished come from groups termed Horticulturists. Though the past record remains relatively scant in regards, anthropologists have used existing ones as a locus of study and interpretation. More numerous than surviving hunter-gatherer groups, horticultural societies also show an incredible range of gender diversity between groups, more numerous, in fact, than any other extent societal model. The quantity of studies that has come as a result of this are astounding. Those done in the area of New Guinea alone, home to at least two hundred different horticultural societies, provide ample evidence to add weight to the debate of nurture over nature, by sheer examples of the differences in living and understanding gender roles in such a relatively small and homogenous environmental area. "
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Gendered Technologies and Gendered Jobs, 2002.
A comparison between women studying and working with computer technology and the sciences in North America and women studying science and technology in Asia.
3,150 words (approx. 12.6 pages), 3 sources, $ 115.95
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Abstract
Explores how the gendered development of technology in a research setting impacts the gendered use of technology in the industrial or commercial setting, as well as the cultural barriers to women's advancement in the high-tech economy.
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Gender Issues and Third Gender Problems, 2002.
A look at how transsexuals fit into society.
1,400 words (approx. 5.6 pages), 5 sources, $ 53.95
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Abstract
This six-page undergraduate paper discusses gender from anthropological perspective and finds out how transsexuals are treated in different societies of the world. While males and female may fight each other over who is stronger, they are the fortunate ones for they belong to two accepted genders but for transsexuals adjusting to the norms of restrictive societies may not be easy as they are not considered a part of the social fabric in many cultures of the world.
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