The expression ＂My Hideous Progeny＂ is widely known to be taken from Mary Shelley＇s preface to the revised edition of Frankenstein （1831）, in which she wrote, of the novel itself and of its creature, Frankenstein...The expression ＂My Hideous Progeny＂ is widely known to be taken from Mary Shelley＇s preface to the revised edition of Frankenstein （1831）, in which she wrote, of the novel itself and of its creature, Frankenstein＇s monster. This paper argues that, if the monster is seen not only as the product of Frankenstein＇s workshop of filthy creation, but also as the child from whom Frankenstein as parent recoils in horror; the works of Kiki Smith, Abigail Lane, and Cindy Sherman, created out of body parts, may also be considered hideous progenies of female creativity. Like Mary Shelley＇s gothic novel, the body, in the work of these three women artists, is not only the raw material of their art, but also the screen on which we project our bad dreams. Through the art of Smith, Lane, and Sherman, we can certainly feel the shudder of body horror that ripples through the Gothic canon from Frankenstein, whose manmade monster＇s yellow skin barely covered the work of muscles and arteries beneath. Departing from their artistic examples, we will be able to perceive how the monstrous feminine in contemporary art can be grounded in a very famous hallmark work of Gothic literature.展开更多
This study examined gender differences in the cognition of the changeability of different parts of the body. The body was divided into six parts： ＂eyes＂, ＂hair＂, ＂upper body＂, ＂lower body＂, ＂facial features...This study examined gender differences in the cognition of the changeability of different parts of the body. The body was divided into six parts： ＂eyes＂, ＂hair＂, ＂upper body＂, ＂lower body＂, ＂facial features＂, and ＂skin＂, and male and female cognition about the changeability of each body part was compared. The participants were 205 undergraduate students （145 female students and 60 male studentsl） enrolled in a university in Japan. The female and male students showed a similarity in their cognition of＂hair＂ as easily changeable and ＂facial features＂ as difficult to change. In addition, there was a difference between the male and female students in the cognition of the changeability of the ＂eyes＂, with the females perceiving a high level of changeability and men, a low changeability. This result suggests that female students believe in the effectiveness of makeup for covering cosmetic flaws of the eye.展开更多
文摘The expression ＂My Hideous Progeny＂ is widely known to be taken from Mary Shelley＇s preface to the revised edition of Frankenstein （1831）, in which she wrote, of the novel itself and of its creature, Frankenstein＇s monster. This paper argues that, if the monster is seen not only as the product of Frankenstein＇s workshop of filthy creation, but also as the child from whom Frankenstein as parent recoils in horror; the works of Kiki Smith, Abigail Lane, and Cindy Sherman, created out of body parts, may also be considered hideous progenies of female creativity. Like Mary Shelley＇s gothic novel, the body, in the work of these three women artists, is not only the raw material of their art, but also the screen on which we project our bad dreams. Through the art of Smith, Lane, and Sherman, we can certainly feel the shudder of body horror that ripples through the Gothic canon from Frankenstein, whose manmade monster＇s yellow skin barely covered the work of muscles and arteries beneath. Departing from their artistic examples, we will be able to perceive how the monstrous feminine in contemporary art can be grounded in a very famous hallmark work of Gothic literature.
文摘This study examined gender differences in the cognition of the changeability of different parts of the body. The body was divided into six parts： ＂eyes＂, ＂hair＂, ＂upper body＂, ＂lower body＂, ＂facial features＂, and ＂skin＂, and male and female cognition about the changeability of each body part was compared. The participants were 205 undergraduate students （145 female students and 60 male studentsl） enrolled in a university in Japan. The female and male students showed a similarity in their cognition of＂hair＂ as easily changeable and ＂facial features＂ as difficult to change. In addition, there was a difference between the male and female students in the cognition of the changeability of the ＂eyes＂, with the females perceiving a high level of changeability and men, a low changeability. This result suggests that female students believe in the effectiveness of makeup for covering cosmetic flaws of the eye.
