Analyzing consumer perceptions: the case of the natural and organic category of cosmetic products

http://www.ester.ee/record=b4420420~S58*es

Reconstructing a National Silhouette: Avant-Garde Fashion and Perceptions of the Japanese Body

We present our identities, both wittingly and unwittingly, through the aesthetic choices we make in regards to our bodies. Adorning the body through fashion represents a genuine solution to a paradox of basic human needs: to express individuality and conform to a larger group or society. Three designers in particular, Rei Kawakubo, Issey Miyake and Yohji Yamamoto, fostered the recognition of Japanese fashion in Paris in the 1970s by shattering industry conventions. The success of these three designers has consequently tied their heritage to their work and its impact on the global stage. Using Rei Kawakubo as a case study, this research aims to understand how fashion can redefine society’s image of a clothed body’s race, gender or ability, while simultaneously delineating the political and social expectations of that body’s behavior. In other words, how has Kawakubo’s work shaped fashion’s view on the body, and is there something inherently Japanese to this reconstruction process? The paper investigates two specific collections, “Dress Meets Body, Body Meets Dress” (S/S 1997) and “Broken Bride” (A/W 2005). The dates of these collections offer two distinct snapshots of the industry’s willingness to accept Japanese fashion. Analysis of the clothes’ silhouettes, patterns, materials, construction and deviations from tradition underscores the capacity of fashion to create meaningful change in the embodiment of class, gender, race and disability

보정어플을 통한 SNS 사용자들의 자기 표현

학위논문(석사) -- 서울대학교대학원 : 생활과학대학 의류학과, 2023. 2. 하지수.오늘날의 사회에서 기술의 발전은 문화와 생활 방식에 대한 접근 방식을 변화시켰고, 결과적으로 새로운 자기 표현 방식을 탄생시켰다. 이러한 변화의 중심에 소셜 네트워킹 플랫폼이 있는데 사람들이 오프라인보다 온라인에서 더 많은 활동을 하고 시간을 투자함으로써 전통적인 사회 구조와 상호 작용 방식이 달라졌다는 것을 쉽게 볼 수가 있다. 이러한 새롭게 변화된 온라인 환경에서, 보정과정을 거친 개인의 셀카는 다른 사람들과의 시각적 의사소통과 참여의 주요 매개체이다. 따라서 본 연구의 목적은 소셜 미디어에서 자신의 프레젠테이션을 지원하는 도구인 셀카와 사진 보정 앱 내의 표현 특성을 조사하는 데 있다. 연구는 총 세개의 연구문제로 이루어져 있으며 첫째, 소셜 미디어의 온라인 특성과 다른 사람과의 상호작용에 미치는 영향에 대한 조사는 온라인 미디어와의 개인적인 자기표현이 어떻게 작동하는지 이해하는 바탕으로, 앱을 사용하여 셀카를 편집하는 소셜 미디어 사용자의 근본적인 동기를 파악한다. 둘째, 소셜 미디어 사용자의 욕구에 특정 방식으로 영향을 미치는 다양한 요소들이 이러한 요소들이 사용자의 자아 이미지 표현에 대한 접근 방식을 어떻게 형성하는지 탐구한다. 마지막으로, 이상적인 '자기'에 대한 묘사에서 서로 다른 소셜 미디어 사용자의 다양한 욕구에 대한 더 깊은 이해를 얻기 위해 자기 개념 및 이미지와 관련된 특정 앱 기능과 자기 표현 방식 간의 상관관계를 조사한다. 방법론적 측면에서 질적 접근법을 선택하였으며, 위에 열거된 목적에 대한 자료를 수집하기 위해 총 20명의 한국 참가자를 대상으로 개별 심층 인터뷰를 실시하였다. 본 연구는 면접참여자 자신의 주관적 경험을 통해 이해하고자 하는 의미현상을 효과적으로 보존하고 있기 때문에 Giorgi의 서술적 현상학적 방법을 자료분석의 틀로 활용하였다. 분석된 자료의 결과는 사진편집 앱 사용동기 내 3개 범주(소셜미디어의 영향, 외모 가꾸기, 온라인 문화의 적응), 자기표현의 영향요인 내 5개 범주(자기결정 자율성 요인, 소셜미디어 매체 성격 요인, 개인적인 관점 요인, 소셜미디어 사용자 요인, 사회적 요인), 소셜 미디어 사용자의 자기 프레젠테이션 및 편집 셀카에 대한 접근 방식에서 공유된 일반 규칙 내의 네 가지 범주(진정성 있는 자기표션, '가짜'로 보일 것을 두려워하여 극단적인 편집을 피하는 행동, 일반적인 편집 관련 보정 규칙, 셀카 편집 도구의 자연스러운 활용방법), 추구하는 온라인 자기 이미지 내의 여섯 가지 범주(자연스러운 이미지, 내가 원하는 대로 삶을 사는 이미지, 다양하고 제한되지 않는 이미지, 호불호가 없어 다양한 사람들에게 호감을 사는 이미지, 상냥하고 다가가기 쉬운 이미지, 도시적이고 세련된 이미지)로 분류 된다. 본 연구의 결과는 전반적으로 사진편집 앱을 통해 매개되는 자신의 자기표현에 대한 시각지향적 소셜미디어 플랫폼의 역동성의 중요성뿐만 아니라 소셜미디어 사용자의 개별적인 자기 이미지 욕구가 어떻게 반영되는지에 대한 철저한 이해를 제공하기 부분에서 연구 의의가 있다.In today's society, advances in technology have transformed approaches to culture and lifestyles, resulting in a different mode of self presentation as well. Traditional social structures and modes of interactions have shifted, as individuals spend more time online than offline, with social networking platforms at the center of this change. Here, the used of edited selfies are the main mediums of visual communication and engagement with others. This studys objectives lie in the investigation of expressive characteristics within selfies and especially photo-editing apps, as tools to assist ones self presentation on social media. First, an inspection of the online nature of social media and its influence on interactions with others is used as a foundation to understand how personal self presentation with online mediums work, and also identify social media users underlying motivations for using apps to edit selfies. Second various factors that influence social media users desires be viewed in a certain way are explored, along with how these factors shape the users approaches to their expression of self-image. Lastly, the correlations between specific app features and ways of self-presentation in relation to self-concept and image are examined to gain a deeper comprehension on the diverse desires of different social media users in their portrayal of the ideal self. A qualitative approach in terms of methodology was chosen, in which individual in-depth interviews of a total of twenty participants from South Korea was conducted to gather data concerning the aims listed above. Giorgis descriptive phenomenological method was used as the frame for data analysis as it effectively preserves the meaning phenomena this study wishes to understand through interview participants own subjective experience. Results of analyzed data revealed three categories within photo-editing app usage motivations (influence of social media, polishing ones appearance, online acculturation), five categories within influencing factors of self presentation (self autonomy factors, nature of social media medium factors, personal perspective factors, social media user factors, socio-cultural factors), four categories within shared general rules of social media users in their approach to self presentation and editing selfies (authentic style of self presentation, avoiding extreme edits in fear of looking 'fake', general rules of edits, natural methods of selfie editing tool), and six categories in desired online self-image (natural image, living life as I want image, diverse and unrestricted image, crowd-pleaser image, amiable and easy-going image, urban and refined image) Overall, the findings of this study are of value as it provides a thorough understanding of not only the significance of the dynamics of a visual-oriented social media platform on ones self presentation mediated through photo-editing apps, but also how the distinct editing processes of social media users reflect of their individual self-image desires.Chapter I. Introduction 1 1. Background 1 2. Research Purpose, Questions, Implications 3 Chapter II. Literature Review 6 1. The Concept of 'Self' and Self Presentation 6 1.1 The 'Self' and Self-Concept 6 1.2 Self Presentation and Impression Management (Goffman) 7 1.3 Self Presentation and Impression Management (Leary and Kowalski) 8 2. Rise of the Social Media 10 2.1 Characteristics and Applications of Social Media 10 2.2 Online Self Presentation and Identity Exploration 11 3. Selfie, Selfie Editing and Beauty Apps 14 3.1 The 'Selfie' 14 3.2 The Normalization of Selfie Editing 15 3.3 Proliferation of Photo-Editing Apps 16 3.4 Influence of Self-Discrepancy on Self Esteem 19 4. Fashion Image and Self Presentation 21 4.1 Fashion Image and Self Concept 21 Chapter III. Methodology 24 1. Phenomenology 24 2. In-depth Interview (IDI) 25 3. Interview Design 25 3.1 Participants Selection and Recruitment 25 3.2 Interview Structure 27 3.3 Interview Question 28 4. Procedures 29 4.1 IRB Approval 29 4.2 Data Collection 29 4.3 Data Analysis 29 Chapter IV. Results (Empirical Study) 32 1. Overview of results 32 2. Photo-Editing App Usage Motivations 32 2.1 Influence of Social Media 32 2.2 Polishing One's Appearance 38 2.3 Online Acculturation 45 3. Influencing Factors of Self Presentation 50 3.1 Self Autonomy Factors 50 3.2 Nature of Social Media Medium Factors 55 3.3 Personal Perspective Factors 58 3.4 Social Media User Factors 60 3.5 Socio-Cultural Factors 63 4. Shared General Rules of Social Media Users 68 4.1 Authentic Style of Self Presentation 68 4.2 Avoiding Extreme Edits in Fear of Looking 'Fake' 75 4.3 General Rules of Edits 83 4.4 Natural Methods of Selfie Editing Tool 86 5. Desired Online 'Self' Image 89 5.1 Natural Image 89 5.2 Living Life as I want, Image 92 5.3 Diverse and Unrestricted Image 95 5.4 Crowd-Pleaser Image 98 5.5 Amiable, Easy-Going Image 103 5.6 Urban and Refined Image 108 Chapter V. Conclusion and Discussion 114 Bibliography 117 Abstract in Korean 125석

Cinematic representations of female teachers : a narratological analysis of mise-en-scene in recent Hollywood films

Advisors: Eui-Kyung Shin.Committee members: Joseph Flynn; Robert T. Self.This dissertation examines the constructed image of a female teacher protagonist as seen in Hollywood school films. School films of the previous century mostly depicted either a male super hero teacher or a helpless, scared educator girl. The former is unattainable, the later is undesirable. However more recently, school films are presenting a completely different image of a female teacher that is neither heroic nor naive; rather, she is lazy, unhappy, and completely disheartened with her profession.For the purposes of this study, three films: Won't Back Down (2012), Larry Crowne (2011), and Bad Teacher (2011) were divided into a five act structure based on the syntactic patterns present in school films: 1) establishing character at school, 2) establishing character at home, 3) teaching examples prior to change, 4) teaching examples after change, and 5) conclusion/suggestion of a new life. The characterization of each protagonist within the five acts was abstracted using James Phelan's (1989) concepts of character dimension and character function. Elements of mise-en-scene (setting, costume/makeup, lighting, staging and performance) were added to Phelan's concept of character dimension to layer a visual analysis on top of the plot progression. Screen captures from the five acts of each film provide the mise-en-scene for analysis and evidence of mimetic, synthetic, and thematic components of characterization. Given theoretical frameworks of both narratology and feminist/post-feminist theory, thematic coding reveals five themes in Hollywood's modern depiction of a female teacher: 1) Low Enthusiasm with Even Lower Expectations, 2) Without an Incentive, Students are Insignificant, 3) Boyfriend/Husband/Father Knows Best, 4) the Only Real Advancement is in Attitude, and 5) Feminism is Flexible. The conclusion of this dissertation provides a comparison between the characterization of Nona Alberts of Won't Back Down, Mercedes Tainot of Larry Crowne, and Elizabeth Halsey of Bad Teacher and the masculinized teacher heroes who fought for the rights of their students in earlier school films.Ed.D. (Doctor of Education

Drawing us in: The Australian Experience of Butoh and Body Weather

Butoh or butoh–inspired dance has become increasingly popular in Australia over the last 20 years. In my thesis I aspire to understand the attraction of butoh within an Australian context. I am interested in investigating the conversion moment. I want to understand how dancers and non-dancers came to engage with and pursue the foreign form in this country, which, before the 1980s, had no relevance or obvious place in the Australian dance scene. While the thesis touches on the obvious conceptions of butoh’s attraction (exoticism, orientalism and primitivism), it also offers a way of looking at butoh in Australia as a field of practice. Using Pierre Bourdieu’s framework the thesis is able to objectively analyse the dancers’ personal experiences, drawing together the key influences of the dancers’ conversion, while simultaneously revealing the struggles, contradictions and shifts within the field. In this sense, I will explore the development of the dance form in Australia, but also valorise the research potential of the embodied experience and place that experience in dialogue with other social, cultural and historical motivations. Furthermore, the thesis records the experiences and impact of the early Australian butoh dancers, which have important historical relevance, especially as the form has established a firm foothold in the Australian performance scene in more recent years, influencing many choreographers and dancers to this day

Pre-Brides and Independent Heroines: Evolving Representations of Female Teen Protagonists in American Film, 1982-2015

Over the first seventy years of American cinema, big budget Hollywood films rarely told heroic stories about teen female protagonists as they did for young male protagonists. Until the civil rights era, young female protagonists most often found identity and sought economic security by winning the affection of a young man by the end of the film. I call this character type the “pre-bride” because she is a teenager, and while there is no “marriage” by the end of the film, she has successfully trained for the marriage plot ending in her future. Since then, some films have challenged this long-standing paradigm, leading to the emergence of a new conceptual model for teen girls—the independent heroine—who is defined by agency instead of the marriage plot.Drawing on the work of cultural historians and employing both ideological and formalist film analysis, this dissertation explores the emergence of the independent heroine and the persistence and updating of the pre-bride by analyzing the teen female protagonists in six representative, popular American films: two from the 1980s, two from the 1990s, and two from the past decade. By examining the teen protagonists of Sixteen Candles (1984), Clueless (1995), and Twilight (2008), I show that the pre-brides here were not seamless replicants of traditional femininity but rather altered old paradigms. At the same time, I analyze how the independent heroines develop considerable agency in Fast Times at Ridgemont High (1982), Titanic (1997), and The Hunger Games (2012) by diverging from marriage plot conventions, although they are not always radically disruptive characters. The arc over the past thirty-plus years suggests that although the pre-bride remains as one persistent character prototype for female teen protagonists, independent heroines are beginning to appear in traditionally heroic roles as the culture adjusts to the idea that women may be as capable as men in pursuing authentic identity separate, but not necessarily apart, from seeking a mate

Design, Development and Implementation Framework for a Postgraduate Non-Surgical Aesthetics Curriculum

Non-surgical aesthetics (NSA) procedures are primarily performed in private clinics away from traditional teaching hospital settings, establishing structured training and education in these procedures during residency training has been challenging. The objective of this study was to design and develop an evidence-based postgraduate curriculum in non-surgical aesthetics. It necessitated determining the current state of training and education for NSA procedures in postgraduate clinical education. Following a design-based research approach, a subsequent systematic literature review and a cross-sectional global-needs assessment study established the need for such a curriculum. Subsequent literature reviews and series of global Delphi studies have informed and guided the design and development of the conceptual framework, core curriculum content and finally, the implementation framework to facilitate the smooth delivery of the programme. The research also incorporated pilot studies for teaching methodology, assessment strategies like “objective structured practical examination (OSPE) and objective structured clinical examination (OSCE)”, which has shown to be very effective. The conceptual framework for curriculum design and development in NSA emerged from the global Delphi study. The conceptual framework is anchored on critical thinking and uses enquiry-based learning to develop information mastery, skills, and values and attitude. Moreover, relevant threshold concepts guided the construction of learning outcomes mapped against the core curriculum. The finding of this study is a crucial first step in bringing an evidence-based structure to training and education in NSA. This thesis will act as a ‘blueprint’ for the policymakers and program directors while curating a postgraduate programme in NSA

KEER2022

Avanttítol: KEER2022. DiversitiesDescripció del recurs: 25 juliol 202

“It’s the Secret to the Universe”: The Communicative Constitution and Routinization of a Dominant Authoritative Text within a UK Cosmetics Company

A gap in Organization and Management Theory exists regarding how, as a relational phenomenon, authority routinely makes a difference to the daily functioning of organization. A ‘Communication as Constitutive of Organization’ (CCO; e.g. Cooren et al., 2011) view of text (e.g. Taylor et al., 1996) is identified as holding unrealized potential to address this omission. A nine-month ethnography of a UK cosmetics company, followed by an abductive analysis (Alvesson and Kärreman, 2007, 2011) of fieldwork material focusing on ventriloquism (e.g. Cooren, 2012), aesthetics (e.g. Hancock, 2005) and practice theory (e.g. Schatzki, 2006), provides original insight into how authority routinely acts. The thesis’s main contribution to knowledge is the crafting of ‘dominant text’ which is defined as; a series of orchestrated texts which simultaneously exercise authority by routinizing the daily workings of organization. To elaborate, actors are instructed and taught to make sure a ventriloqual text routinely directs clients’ attention toward a particular course of action. At the same time, interventions are made to ensure aesthetic and practice texts routinely remind actors to represent a collective identity and disciplines how they act. While CCO studies show how texts periodically exercise authority (Fauré et al., 2010; Güney and Creswell, 2012; Holm and Fairhurst, 2017; Jordan et al., 2013; Koschmann, 2012; Spee and Jarzabkowski, 2011), a dominant text enhances knowledge about how authority routinely organizes activities which constitute and characterize organization. Theoretical insights are also generated that extend the CCO project of developing a communicational interpretation of organizing and organization

A poetic canvas: Byron and visual culture

A Poetic Canvas: Byron and Visual Culture argues for a reading of Byron\u27s poems within the cultural context of the sister arts of poetry and painting. In addition, the theatre and sculpture were also influential as visual inspiration for Byron. This study reveals the poet\u27s substantial knowledge of the visual arts; consequently, informed by images he knew, readings convey a richer context of significance. The influence of drawings, print caricature, and paintings is found to be substantial, and the research challenges Byron\u27s own statements, often repeated, that he knew nothing of painting. Although Byron is regarded as a poet of the Romantic Period, he was a reluctant Romantic. This study will show the lingering validation of the Augustan Period in the first decades of the nineteenth century, even as poetry was changing in both theme and form. Byron regarded his contemporary poets as writing upon a wrong revolutionary poetical system. Despite his assertion that Pope was the epitome of British poetry, Byron was extremely proud of Don Juan, his unique masterpiece, and insisted that the poem was part of a literary tradition, a work that extends the heritage of poetic satire