Role of gender, professional level, and geographic location of artists on how they represent a story: the case of Little Red Riding Hood
Little Red Riding Hood is a widely known classic story and its text has been abundantly analyzed, but no detailed statistical stud- ies have been published about how it has been illustrated. We analyzed 554 images from the public artists’ site DeviantArt (January, 2015); clas- si ed them according to how the wolf, Little Red, and the environment were represented by the artists; and applied non-parametrical statisti- cal tests to check several hypotheses. When compared with profession- als, amateur artists tended to present a more neutral environment, and to humanize the wolf. Female artists were more likely to represent the wolf as a dressed man. Men were more likely to set the story outside of forests, to eroticize Red and to show her confused, scared or unin- terested when rst meeting the wolf. The neutral attitude of amateurs towards nature suggests indecision, while professional artists seem more used to produce family-friendly images. The female tendency to present the wolf as a man forces them to dress him and may re ect a stronger awareness about the moral of the story, meant to warn young women about men’s sexuality. Men deviate more from the forest set- ting because they feel safer in new environments, and also appear to see Red as a sexually attractive partner and the wolf as a competitor. Artists tended to show no sexual intent between the characters, but those who did were mostly amateurs. The global similarity in art about Little Red Riding Hood indicates that all modern audiences are familiar with the standard representation of the story in books, lms and televi- sion. This article presents a rigorous quantitative approach to the study of art that can be applied to many other stories and subjects.
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Universidad Estatal a Distancia, Costa Rica
2017
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Barrientos, Karina Monge-Nájera, Julián Barrientos, Zaidett González Lutz, María Isabel |
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Barrientos, Karina Monge-Nájera, Julián Barrientos, Zaidett González Lutz, María Isabel Role of gender, professional level, and geographic location of artists on how they represent a story: the case of Little Red Riding Hood |
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Barrientos, Karina Monge-Nájera, Julián Barrientos, Zaidett González Lutz, María Isabel |
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Barrientos, Karina |
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Role of gender, professional level, and geographic location of artists on how they represent a story: the case of Little Red Riding Hood |
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Role of gender, professional level, and geographic location of artists on how they represent a story: the case of Little Red Riding Hood |
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Role of gender, professional level, and geographic location of artists on how they represent a story: the case of Little Red Riding Hood |
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Role of gender, professional level, and geographic location of artists on how they represent a story: the case of Little Red Riding Hood |
| title_full_unstemmed |
Role of gender, professional level, and geographic location of artists on how they represent a story: the case of Little Red Riding Hood |
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role of gender, professional level, and geographic location of artists on how they represent a story: the case of little red riding hood |
| description |
Little Red Riding Hood is a widely known classic story and its text has been abundantly analyzed, but no detailed statistical stud- ies have been published about how it has been illustrated. We analyzed 554 images from the public artists’ site DeviantArt (January, 2015); clas- si ed them according to how the wolf, Little Red, and the environment were represented by the artists; and applied non-parametrical statisti- cal tests to check several hypotheses. When compared with profession- als, amateur artists tended to present a more neutral environment, and to humanize the wolf. Female artists were more likely to represent the wolf as a dressed man. Men were more likely to set the story outside of forests, to eroticize Red and to show her confused, scared or unin- terested when rst meeting the wolf. The neutral attitude of amateurs towards nature suggests indecision, while professional artists seem more used to produce family-friendly images. The female tendency to present the wolf as a man forces them to dress him and may re ect a stronger awareness about the moral of the story, meant to warn young women about men’s sexuality. Men deviate more from the forest set- ting because they feel safer in new environments, and also appear to see Red as a sexually attractive partner and the wolf as a competitor. Artists tended to show no sexual intent between the characters, but those who did were mostly amateurs. The global similarity in art about Little Red Riding Hood indicates that all modern audiences are familiar with the standard representation of the story in books, lms and televi- sion. This article presents a rigorous quantitative approach to the study of art that can be applied to many other stories and subjects. |
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Universidad Estatal a Distancia, Costa Rica |
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2017 |
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https://revistas.uned.ac.cr/index.php/cuadernos/article/view/1896 |
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oai:revistas.investiga.uned.ac.cr:article18962022-09-02T02:21:17Z Role of gender, professional level, and geographic location of artists on how they represent a story: the case of Little Red Riding Hood Papel del género, nivel profesional y localización geo- grá ca de los artistas sobre cómo representan una historia: el caso de Caperucita Roja Barrientos, Karina Monge-Nájera, Julián Barrientos, Zaidett González Lutz, María Isabel artistic interpretation cultural differences effect of gender on art fairy tale representation interpretación artística diferencias culturales efecto del género en el arte representación de cuento de hadas Little Red Riding Hood is a widely known classic story and its text has been abundantly analyzed, but no detailed statistical stud- ies have been published about how it has been illustrated. We analyzed 554 images from the public artists’ site DeviantArt (January, 2015); clas- si ed them according to how the wolf, Little Red, and the environment were represented by the artists; and applied non-parametrical statisti- cal tests to check several hypotheses. When compared with profession- als, amateur artists tended to present a more neutral environment, and to humanize the wolf. Female artists were more likely to represent the wolf as a dressed man. Men were more likely to set the story outside of forests, to eroticize Red and to show her confused, scared or unin- terested when rst meeting the wolf. The neutral attitude of amateurs towards nature suggests indecision, while professional artists seem more used to produce family-friendly images. The female tendency to present the wolf as a man forces them to dress him and may re ect a stronger awareness about the moral of the story, meant to warn young women about men’s sexuality. Men deviate more from the forest set- ting because they feel safer in new environments, and also appear to see Red as a sexually attractive partner and the wolf as a competitor. Artists tended to show no sexual intent between the characters, but those who did were mostly amateurs. The global similarity in art about Little Red Riding Hood indicates that all modern audiences are familiar with the standard representation of the story in books, lms and televi- sion. This article presents a rigorous quantitative approach to the study of art that can be applied to many other stories and subjects. Caperucita Roja es una historia clásica muy co- nocida y su texto ha sido abundantemente analizado, pero no se han publicado estudios estadísticos detallados sobre cómo se ha ilustrado. Analizamos 554 imágenes del sitio DeviantArt.com (enero de 2015); cla- si cándolas de acuerdo a cómo representan los artistas al lobo, caperu- cita roja, y el ambiente. Aplicamos pruebas estadísticas no paramétricas para evaluar varias hipótesis. En comparación con los profesionales, los artistas a cionados tienden a presentar un ambiente más neutral, y a humanizar al lobo. Los hombres son más propensos a ubicar la historia fuera del bosque, a erotizar a caperucita; y mostrar su confusión, miedo o desinterés durante el primer encuentro con el lobo. La actitud neu- tral de los a cionados hacia la naturaleza sugiere indecisión, mientras que los profesionales producen imágenes dirigidas a toda la familia. La tendencia femenina a presentar al lobo como un hombre obliga a ves- tirlo y puede re ejar una mayor conciencia sobre la moral de la historia, destinada a advertir a las jóvenes sobre la sexualidad masculina. Los hombres se desvían más de la tradición del bosque porque se sienten más seguros en nuevos entornos; representan a caperucita como al- guien sexualmente deseable, y ven al lobo como competidor sexual. En general se presenta poca intención sexual entre los personajes: quie- nes lo hacen son en su mayoría a cionados. La similitud internacional en el arte sobre caperucita indica que todas las audiencias modernas están familiarizadas con la representación estándar de la historia en li- bros, películas y televisión. Este artículo presenta un riguroso enfoque cuantitativo al estudio del arte, que se puede aplicar a muchas otras historias y temas. Universidad Estatal a Distancia, Costa Rica 2017-09-28 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/epub+zip text/html application/pdf application/pdf https://revistas.uned.ac.cr/index.php/cuadernos/article/view/1896 10.22458/urj.v9i2.1896 UNED Research Journal; Vol. 9 No. 2 (2017) UNED Research Journal; Vol. 9 Núm. 2 (2017) 1659-441X 1659-4266 eng https://revistas.uned.ac.cr/index.php/cuadernos/article/view/1896/2109 https://revistas.uned.ac.cr/index.php/cuadernos/article/view/1896/2110 https://revistas.uned.ac.cr/index.php/cuadernos/article/view/1896/2111 https://revistas.uned.ac.cr/index.php/cuadernos/article/view/1896/2908 Copyright (c) 2017 UNED Research Journal |