Zhu Bajie
Baron
Oh I dunno AranaszarSzuur, Erny is very worth interacting with. We don't always agree but he's coming from a good place and has both a knack for expressing his opinions clearly and has excellent critical thinking skills. He's also a bit good at painting orcs.
Have any actual, peer-reviewed scientific analysis been done on what 'boys like' or are we assuming it from our accultued position
my Occams razor cuts away both the free market economy and imaginary teenage boys, and leaves us with the stuff that we think about and talk about whilst looking at the art. Does the image of a female clinging to the leg of a bare chested barbarian reinforce or reflect gender stereotypes? Yes. I think we both agree it does. Does the image of a man in high heels crushing a broken statue of a woman reinforce gender stereotypes? Possibly. Or possibly it's an ironic comment on a well worn heroic-fantasy trope.
Yeah, I'm familiar with the Jungian school, he wrote on the Maiden-Mother-Crone archetype trinity, and I get the Animus / Maiden thing. Deep breath. Male gaze - the female as male psychological function, not as a depiction of an independent being in their own right. An artist has to be self aware enough not to just project their subconscious onto paper.
From my understanding MBTI was developed from Jung (not by him) and I think he would have resisted a non-dynamic and systematic way of relating to people. However, I could see its use as a way of looking at representation, at its most crude and basic one could just identify Extrovert and Introvert attitudes and poses, and map their frequency in certain genres of imagery (for example).
Oh and if you dig Jung and fantasy, read Wizard of Earthsea by Usula Le Guin. It's really good anyway.
Just to come back to this one, and the Assessmans point which de Simone de Beauvoir was originally making - that the role can be fulfilling even though it is a 'denial of freedom' and so makes it more seductive. De Beauvoir also discuss positions of The Serious Man and the sub-man, the sub-man admits to no concept of freedom, and the Serious Man willingly submits their with to a 'greater cause' . Both deny their existentialist freedom, much like a Space Marine - the internalisation of the totalitarian state of the Empire reflected in his externality, the immobile dustbin armoured legs and masked, hidden face erasing his individual identity, and the adoption of the symbols of archetypal warrior. The gender disparity isn't in the objectification per-se but the rather sexualised nature of the female objectification.
And just to think, I was all geared up for examining Blanches use of the beauty spot in many of his depictions of women, bringing in William Hogarth's the Harlots Progress, prostitution and facial semaphore ...
http://earlymodernmedicine.com/beauty-s ... rench-pox/
I especially like this 'code' for the position of the beauty spot:
the ‘assassin’ (forehead);
the ‘gallant’ (cheek)
the ‘coquette’ (lips)
impishness (corner of the mouth);
flirt (the cheek);
in love (beside the eye);
chin indicated (roguishness)
nose (cheekiness)
lip w (coquettish),
forehead (proud).
Which might be amusing for the followers of Blanchitsu anyway...
Erny":1nyed3e6 said:My Occams razor cleanly cuts the majority of horny teenage boys obsessions into the huge doses of testosterone bin rather than the social conditioning bin. Experiments have been done here, give a woman half the normal resting testosterone dose of a teenage boy and get yourself a nymphomaniac (a nymphomaniac with heart problems). An artist asked to paint a cover to appeal to young men for a book about a barbarian that gets the girl won't have to think long and hard about how they are going to go about it. We know what the boys like.
Have any actual, peer-reviewed scientific analysis been done on what 'boys like' or are we assuming it from our accultued position

AranaszarSzuur":1nyed3e6 said:Apparently Jungian literary criticism is actually a thing. I don't know if anyone actually uses MBTI for criticism. Would be quite pointless as MBTI tends to mistype a lot of people.Zhu Bajie":1nyed3e6 said:But in terms of using a cultural symbol-system - I'm ignorant of people using MTBI in art criticism - do you have any references to this kind of practice?
Personally, I use another typing system that roughly correlate with MBTI but uses physiological cues for reliable typing without requiring very high self-knowledge and high knowledge of the system from a typed person. I just use MBTI names for general understanding.
Yeah, I'm familiar with the Jungian school, he wrote on the Maiden-Mother-Crone archetype trinity, and I get the Animus / Maiden thing. Deep breath. Male gaze - the female as male psychological function, not as a depiction of an independent being in their own right. An artist has to be self aware enough not to just project their subconscious onto paper.
From my understanding MBTI was developed from Jung (not by him) and I think he would have resisted a non-dynamic and systematic way of relating to people. However, I could see its use as a way of looking at representation, at its most crude and basic one could just identify Extrovert and Introvert attitudes and poses, and map their frequency in certain genres of imagery (for example).
Oh and if you dig Jung and fantasy, read Wizard of Earthsea by Usula Le Guin. It's really good anyway.
AranaszarSzuur":1nyed3e6 said:tfw no non-mangled 3D dominatrix waifu available.Zhu Bajie":1nyed3e6 said:AranaszarSzuur":1nyed3e6 said:I think the high heeled boots here symbolise sexual dominance and violent sadism.
That's the main paradox - in order to become a symbol of 'sexual dominance' the female is compelled to submit herself to the physical torture of fetish clothing - boots that bend and distort the foot, corsetry that makes it difficult to breathe, and ultimately subsume her own identity to the male fantasy stereotype of the dominatrix.
tfw no non-mangled 3D females available at all.
Just to come back to this one, and the Assessmans point which de Simone de Beauvoir was originally making - that the role can be fulfilling even though it is a 'denial of freedom' and so makes it more seductive. De Beauvoir also discuss positions of The Serious Man and the sub-man, the sub-man admits to no concept of freedom, and the Serious Man willingly submits their with to a 'greater cause' . Both deny their existentialist freedom, much like a Space Marine - the internalisation of the totalitarian state of the Empire reflected in his externality, the immobile dustbin armoured legs and masked, hidden face erasing his individual identity, and the adoption of the symbols of archetypal warrior. The gender disparity isn't in the objectification per-se but the rather sexualised nature of the female objectification.

And just to think, I was all geared up for examining Blanches use of the beauty spot in many of his depictions of women, bringing in William Hogarth's the Harlots Progress, prostitution and facial semaphore ...
http://earlymodernmedicine.com/beauty-s ... rench-pox/
I especially like this 'code' for the position of the beauty spot:
the ‘assassin’ (forehead);
the ‘gallant’ (cheek)
the ‘coquette’ (lips)
impishness (corner of the mouth);
flirt (the cheek);
in love (beside the eye);
chin indicated (roguishness)
nose (cheekiness)
lip w (coquettish),
forehead (proud).
Which might be amusing for the followers of Blanchitsu anyway...