Abstract
The composition deliberates the most collective indulgences and the misapprehensions coupled with feminism, the feminist sway on the philosophy of aesthetics and especially on beauty and art, the definition of beauty, the use of the female image in the arts. The history of the origins of feminism and its development over time forms the basis of the discussion. While how the norms of beauty, art and its engagement have been re-demarcated since the notion of the theoretical feminism of the 60’s, stand at the centre. Not long ago when being a feminist preordained the female to being passionately divergent to love and beauty, art was perceived not as pure and beautiful but contaminated and loathsome in the service of ideology and power. The recently coined term of the Feminist Artist seems to be as ambiguous as the constantly evolving feminist theory. So a look is taken into how various modern feminist artists attempt to present their point of view while sustaining a drastic perspective which is somehow connected to the original thought. Hairy armpits, being makeup free and other such representations of female independence might be acceptable in the western hemisphere but are not part of the norm of the feminist artists’ life style in countries like Pakistan.
Sumera Jawwad, Muhammad Asghar. (2017) The Feminist Discourse, Journal of the Punjab University Historical Society, Volume 30, Issue 1.
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