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Flower Symbolism as Female Sexual Metaphor
Abstract
The watercolor paintings that I created from September 2009 to March 2010 use flowers as metaphorical subject matter to address issues and emotions associated with the topic of female sexuality. My goal was to use the long-standing tradition of flowers as symbols of female genitalia (which will be thoroughly explained in part two of this thesis) to allude to my personal attitudes, experiences, observations, and worries in a manner that would be easier for me to express and less abrasive for my audience to accept. Creating these watercolors was certainly therapeutic for me; I hope that other women who have trouble expressing and embracing their sexuality can identify with my work and perhaps learn how they can communicate personal feelings about their anatomy and sexuality by initiating their own internal conversations.
... Hal tersebut dapat dipahami karena pembahasan mengenai seksualitas wanita masih menjadi topik yang tertutup dan memalukan. Seperti pada studi yang berjudul "Flower Symbolism as Female Sexual Metaphor", "women are taught that their genitalia are unclean or shameful, and should be covered to and avoided at all times" (Frownfelter, 2010). ...
... Munculnya perasaan malu, takut, dan bersalah tersebut dikarenakan adanya peraturan norma gender di masyarakat ketika menyebut organ intim. Selain itu, ajaran agama yang dianut kemudian juga menjadi alasan mereka menahan keinginan untuk mencari tahu lebih lanjut (Frownfelter, 2010). ...
This research focuses on the acceptance of Instagram users to the visual analogy of sexualitywith food by Instagram influencers when delivering sex education material that is stillconsidered taboo in Indonesia. By using a qualitative approach and a type of descriptiveresearch, this research focuses on the meaning received by the nine informants who haveparticipated. The research method used is Reception Analysis with in-depth interviews as datacollection technique. The literature review used is a visual analogy to explain the taboo aboutsexuality, sexuality in Indonesia, problems of formal sex education, symbolic construction ofsexuality in traditional media, and sexuality content that appears on Instagram social media.The findings of this study indicate that the informants interpret the visual analogy of sexualitybased on the concept of heteronormativity in everyday life. Then, stereotypes about sexualitythat develop in the community also become a reference when they answer questions. Theperception of the state of Indonesia as homophobic and transphobic country, but when facedwith a visual analogy in the form of food, the informants did not object to the existence ofLGBT groups or to the concept of homosexuality
... La representación del loto (Nelumbo nucifera, flor nacional de la India) es también recurrente en el Taj Mahal, lo que concuerda con su significado de nacimiento, pureza, belleza, espiritualidad y eternidad en muchas culturas y religiones (Patnaik, 1993;Gupta, 1996;Misbach, 2003;O'Connell & Airey, 2007;Spellman, 2008). En la India también hay una mitología sexual en torno de la flor de loto, ya que ésta simboliza diferentes aspectos de la sexualidad femenina, lo que depende de sus partes y edad (Frownfelter, 2010). Así, el loto puede ser un símbolo de "entrañas fructíferas", su pistilo es el feto, sus brotes representan el "virgin cunnus", y cuando el loto se encuentra en flor representa el bostezo de una mujer productiva (Frownfelter, 2010). ...
... En la India también hay una mitología sexual en torno de la flor de loto, ya que ésta simboliza diferentes aspectos de la sexualidad femenina, lo que depende de sus partes y edad (Frownfelter, 2010). Así, el loto puede ser un símbolo de "entrañas fructíferas", su pistilo es el feto, sus brotes representan el "virgin cunnus", y cuando el loto se encuentra en flor representa el bostezo de una mujer productiva (Frownfelter, 2010). ...
Iconography had involved the study, description, classification, and interpretation of an icon by sourcing and correlating textual sources with the evidence of the icon. Studies in Indian iconography had remained focused on identifications, terminology, and classifications, specifically in relation to the plethora of religious imagery. However, the studies on Indian plant iconography remain without development. The Taj Mahal has been long considered one of the most, if not the most, beautiful building in the world; it represents the apex of the Mughal Style. The external and internal walls are profusely ornamented with reliefs and stone inlays ("pietra dura") of flowers, fruits, and plants that combine Persian, Indian, and Western influences. This study was based on premises of iconographic analyses, and thus, the Taj Mahal's plant iconography was studied. Forty six species were recognized, which represent 42 genera and 29 families. In this paper I give the botanical, popular and family name of each identified plant, as well as the morphological style of the plant iconography. Four morphological styles were identified. My hope is that this paper will open up new possibilities of research, enjoyment, and understanding in the vast resources of the plant iconography in India.
... Carnation has the connotation of a force that supports the beauty of women and their tenderness (Frownfelter, 2010). The life picture of fisherwomen is a real portrait of the gender system in coastal culture, as stated by Kusnadi below: ...
To date, Javanese-Indonesian coastal women have only been part of the batik craft industry, but their strategic roles and expressions have never been disclosed or cared. Whereas the feminine side and the aesthetic symbolic adaptation of Batik-crafter women are very important issues in the creation of the Indonesian cultural repertoire. This study succeeded in explaining the visual identity signs and aesthetic structures described by the community of the crafter woman in the Paoman Village, as well as revealing the meaning of the Indramayu written batik motif as a sign in coastal culture.
... First, a readiness of women's genitalia was represented by the flower. This metaphor served to tell about female's sexualities throughout the world history across various societies [3]. Second, we decided to employ a cactus 224 form to add a degree of surrealism to the design. ...
Based on the context of higher life expectancy and lower pregnancy rate, ageing society is unavoidable. Technological response is necessary. Hormone Couture exhibition presents two wearable technologies that aesthetically respond to women's reproductive hormone and body temperature changes. The designs address how technology creates a biopolitical issues whether the wearable technology empowers women by giving her access to biological information, or creates gendered oppression by having a technology that monitors, controls, and influences sexual behavior on the body. Both of these arguments cannot be separated as they altogether exist at the same time as two sides of the same coin. This contradictory relationship between technological advancement and gender politics was materialized into the work aiming to criticize and speculate the future of wearable technology, and how it reinforces dynamics of gender tension in society.
This cluster of seven short essays focuses on sexualized representations of Tudor queens, especially in moments of pregnancy, childbirth, and public display. Each of the essays covers a familiar subject, such as Henry VIII’s “Great Matter,” in a new way, thus exposing the sexual politics of such events. The cluster shows how five Tudor queens were sexualized by their contemporaries, how their first sexual experiences were understood, and the ways in which beauty and fertility were discussed. Collectively, these essays suggest that a greater discussion of how these royal Tudor female bodies were understood in their own time will allow for more work on how that sexualization and de-sexualization was carried across time and genre, down to our own period.
The title of my TFM, “Exploring ‘The Mouth of Corpses’: Femininity, Myth and Cultural Memory in Sylvia Plath’s Poetry”, pretends to embody the most prominent topics that I have analysed in relation to the poetic work of Sylvia Plath. “The Mouth of Corpses” is a reference to a line of one of the darkest of Plath’s poems: “Childless Woman.” That mouth refers to the vagina as a place of death rather than life, and these negative connotations towards the female genitalia become more and more recurrent in relation to Plath’s depiction of femininity in her later poetry. Therefore, that is one of the main focuses in
this analysis that led me to become interested in exploring the possible and diverse cultural sources that may have inspired and influenced Plath’s images of femininity. In this sense, cultural memory and myth in Western folklore and the Classics were chosen as the most recurrent sources in the poems I have selected for this task. In a metaphorical sense, my pretension was to involve the readers into entering and ed for this task. In a metaphorical sense, my pretension was to involve the readers into entering and exploring “the mouth of corpses” fantasia as I previously did myself in order to write this TFM, as a exploring “the mouth of corpses” fantasia as I previously did myself in order to write this TFM, as a submersion into the deepest origins of life and death, a submersion into the deepest origins of life and death.
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