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“There’s nothing makeup cannot do”

Women Beauty Vloggers’ Self-Representations, Transformations, and #thepowerofmakeup

Michele White

YouTube video allows her to share “comments that were left on images” of her “face.” 1 Beauty vlogger, or video blogger, My Pale Skin self-represents along with a viewer comment that asks, “HAS SHE EVER WASHED HER FACE?” A commenter also identifies her as

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Black Girls Swim

Race, Gender, and Embodied Aquatic Histories

Samantha White

. The construction of the healthy body included attention to beauty practices that emphasized the role of femininity since hair symbolized an extension of visible health. Finally, the healthy body also required the performance of disciplined displays of

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“[W]hat Beauty in Oriental Art Means”

Asian Arts, Soft Diplomacy, and New Zealand Cultural Nationalism—The Loan Exhibition of Oriental Art, Christchurch, 1935

James Beattie and Louise Stevenson

second case of Chinese ceramics contains pottery from the Tang dynasty (618–906 CE ). Humphreys-Davies claims that during this period the modeling of ceramics reached its highest level. The glazes were of such amazing beauty that many have described this

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Christine Adams

. Certainly, kings in other countries had mistresses: those of Charles II of England (r. 1660–1685), a contemporary of Louis XIV (r. 1643–1715), were legendary for their beauty and prominence at his court. But the position that official mistresses—what the

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Andrew McCumber

planning, has in a natural aesthetic. When Santa Barbara is lauded for its scenic or natural beauty, part of what that means is the city’s appearance fits a culturally preferred aesthetic. Santa Barbara’s physical geography surely provides the basic

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'Beauty in Usuality'

Ivor Gurney and the Twistedness of Things

Hugh Underhill

For Ivor Gurney nothing came easily. ‘The price of almost anything that one desires worthily’, he wrote from France in 1917, ‘is only Pain … long ago I decided that to accomplish what I wish was worth a great deal of pain and was ready to undergo it’. ‘We Who Praise Poets’ suggests that the poet may expect no praise from his contemporaries, and his worth is only to be measured against the ‘great trees’ of past poetry, ‘the able and the mighty dead’: in effect, those dead are envisaged as pronouncing the verdict on his achievement.

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Danai S. Mupotsa

Becoming-girl-woman-bride refers to the various positions and transformations of the bride. The girl and the bride as related in becoming-bride are the site of intense sociocultural investment and anxiety played out in the central role the bride takes in the wedding ritual. I draw from autoethnographic material, interviews, and bridal magazines, specifically those in circulation in South Africa that include representations of black women as brides. I conclude this article with an argument about the black femme as a so-called girly line of flight that produces our image of common sense, albeit with a different relation to visibility. Moving from the premise that common sense is overwhelmed by the visual sense, I position the black femme in relation to the image of common sense and I offer a reading of how images produce a range of simultaneous identifications and disidentifications, particularly in relation to the image of the ideal bride.

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Laura Verdi

In this article I will discuss the human body, both physical and social, as an instrument of political and aesthetic power and will analyze the processes of its social construction, starting with the notion of Corpus Mysticum Christi as the metaphoric organizational structure of consensus to power. From the Low Middle Ages to the present day, we will observe how the treatment of the body has evolved and how present-day show business and politics make use of charisma, from typically conceived 'concentrated stardom' to a conception of 'diffused stardom'. Both models are given aesthetic significance and rhetorical amplification, thus resulting in images of power and a means of social control. The conclusion of the article examines how power relations are currently being affected in a social environment that is highly influenced by the media and how, no matter which era is being discussed, the existence of the social body still depends on the physical body.

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Shara Crookston and Monica Klonowski

unique among its counterparts. Launched in 2003, Teen Vogue was, according to then editor-in-chief Amy Astley, designed to focus on fashion, beauty, and style for an adolescent girl audience. Teen Vogue was the “little sister to Vogue ” and an

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Between Venus and Mercury

The 1920s Beauty Contest in France and America

Holly Grout

This article examines the beauty contest as a cultural register for shifting definitions of femininity in the 1920s. It focuses on the photographic beauty competition, the “Miss“ pageant, and the film Prix de Beauté, to show how beauty contests in France and the United States engendered transnational debates about feminine beauty, identity, and visibility. It asks how, as valueladen cultural enterprises and as popular commercial entertainments, these events fashioned models of modern womanhood that were simultaneously respectable and risqué; national and international; ordinary and exceptional.