151 Sentences With "sexual objectification"

Sex robots could encourage sexual objectification of women, the report says.

Others condemned sex workers for colluding in their own oppression and sexual objectification.

The writers used slurs liberally, and seemed to delight in the sexual objectification of women.

A third type of sexism was sexual objectification, such as street harassment and unwanted touching.

How has that experience changed the way you look at sexism and sexual objectification of women?

Sexual objectification has also been linked to increased victim blaming mentality among victims of sexual assault.

Women were promised liberation, but instead, abortion only brought death, exploitation, and increased sexual objectification to women.

Turn on any number of sitcoms and one will see sexual objectification is a two way street.

The subjugation and sexual objectification of girls and women are recurrent, ably handled themes throughout the novel.

And yet, he, like most men, is truly uncomfortable talking about them outside the context of sexual objectification.

For women, she said, this identity work often requires navigating the minefields of sexual objectification, harassment and danger.

It's either naïve or dishonest to downplay the role of pornography in the sexual objectification of our women.

Did women not burn their bras and Helen Reddy roar to end the sexual objectification of the fairer sex?

The mask brings up a lot of questions from the viewer: Is this a feminist statement about sexual objectification?

A plethora of studies now associate playing such games with greater tolerance of violence, reduced empathy, aggression and sexual objectification.

She said comparing prostitutes to robots was dehumanising and the sexual objectification of women through sex dolls was also problematic.

Does satirizing serious issues like sexual objectification or the behavior of a Trump figure actually help or hurt the issue?

"Institutions need to understand how sexual objectification represents a political risk that they're not taking seriously right now," Ms. Chemaly said.

"Sexual objectification is related to various negative attitudes and outcomes, including rape proclivity and reduced moral concern for the objectified," the abstract reads.

But this is a difficult idea to swallow in a novel where femininity is inextricably, exuberantly linked with miserable yearning and sexual objectification.

Though most people associate Lara Croft with gaming culture's problem of sexual objectification, the truth is that she's probably less representative than you think.

According to those in the room, it was the first experience of many of the male art historians in that room of sexual objectification.

Today she is a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter.

Tracer (a character in Overwatch) was rivaled only by the timeless sexual objectification of Lara Croft—Croft leading Tracer by a mere 77,000 searches overall.

This moment would set a foundational stage for an unexpected career path: as a psychology professor whose research includes the sexual objectification of women and girls.

Even as Yoon examines other forms of fetishization and sexual objectification — registering racist clichés as a New Yorker, for example ("Geisha-Schmeisha") — the poems remain tethered to their foundational history.

With her deconstructed cheerleader and stripper moves, Hanna still had one foot in the world of sexual objectification, while Tribe 8's singer had broken through to the other side.

In an influential essay, titled "Objectification," Nussbaum builds on a passage written by Sunstein, in which he suggests that some forms of sexual objectification can be both ineradicable and wonderful.

In what is supposed to be a moment of sexual objectification, Toya intentionally frames her sexuality around her own pleasure and not the approval of men during a conversation with Zurich.

He derives inspiration from American pop artist Roy Lichtenstein and focuses on the portrayal and sexual objectification of both women and children found in the majority of images digested by Western culture.

But it's also every woman's story — the story of a world whose institutions are built to protect men; a world where sexual objectification is ubiquitous and the threat of sexual violence is constant.

Would we be filling our Instagram feeds with #freethenipple hashtags to protest against sexual objectification if Jones's "Nipple to the Bottle" had not been banned from the radio in 1982 for the same reason?

As the documentary points out, there was an undeniable element of sexual objectification in the way the performers were dressed; but the storylines within the show were all about power and control, not submission.

In January reports that women hired to entertain businessmen and politicians at a men-only charity fundraising gala in London were groped, propositioned and sexually harassed, fueled a public debate over sexual objectification of women.

Recent studies have linked racism to elevated levels of the stress hormone cortisol, while another study found that sexual objectification and fears for physical safety are associated with heightened psychological distress, especially among black women.

As a femme woman, I often feel that because your main social function involves your sexual objectification, small daily tasks carry with them an element of sexual labor or work that is imposed upon you.

That images of girls looking sexy are so much more prevalent than those of boys reflects sexism and the sexual objectification of women; so does the way much pornography shows women being treated in a degrading manner.

In the 1970s, radical feminists and antiporn crusaders like Andrea Dworkin and Catharine MacKinnon made it their mission to perpetuate the cultural misconception that all sex work is inherently degrading, bolstering both the sexual objectification of women and the patriarchy.

Throughout art history, the female body has always served some kind of sexual objectification or is heavily politicized in a sense that if doesn't conform with the conventional idea of sexual gratification, then it must mean that it's a feminist or political statement.

So when considering that we have spent two decades being fixated on Lara Croft's cup size, it's helpful to keep in mind that this ongoing cultural conversation about boobs has arguably done more to curb systemic sexual objectification in gaming than to perpetuate it.

And while some might argue that sexualizing the gut (or whatever other "undesirable" aspect of the female body we're not seeing promoted today) is just as problematic, the fact remains that we have to think deeper about how we differentiate sexual objectification from empowerment.

In the US, rape is tacitly condoned through denial of the rape epidemic, denial of the harms of rape, victim blaming, trivialization of rape, the normalization of female sexual objectification and rape eroticization in popular culture, and not taking rape seriously as a crime.

In "Girls & Sex", a wise and sharply argued look at how girls are navigating "the complicated new landscape" of sex and sexuality, Ms Orenstein notes that unlike past feminists, who often protested against their sexual objectification, many of today's young women claim to find it empowering.

"I'm thinking here of personal ads for 'no fats, no fems,' language that expresses a preference for those who are 'straight-acting,' and unwanted forms of sexual objectification that reflect and encourage anti-black racism, anti-Asian Orientalism and more," he continued, referencing the rampant proliferation of racism and other forms of privilege on gay dating apps.

Sure, Madonna would kiss Britney and Christina at the MTV VMAs that year in a simulated sapphic embrace, and a few KT Tunstall songs spoke to me, but really there was nothing in popular culture to latch my substantial lustiness onto—until Faith's evil smirk beamed across my box-like TV. Before Faith, my puberty had been shaped by boys' sexual objectification: they either deemed me fuckable or unfuckable.

Original Spanish article. Male sexual objectification has been found in 37% of advertisements featuring men's body parts to showcase a product. These advertisements are a form of sexual objectification. Similar to the issues of sexual objectification in women, it is common for said objectification to lead men to body shaming, eating disorders, and a drive for perfection.

The Interpersonal Sexual Objectification Scale (ISOS) is a scale that shows sexual objectification of respondents, both men and women. While experiencing sexual objectification it creates the need to constantly maintain and critique one's physical appearance. This leads to other things like eating disorders, body shaming, and anxiety. The ISOS scale can be related to objectification theory and sexism.

Additionally, studies have found connections between as sexual objectification as a result of internalized sexism and body shame, sexual objectification, and disordered eating.Moradi, Dirks, and Matteson. 2005. “Roles of Sexual Objectification Experiences and Internalization of Standards of Beauty in Eating Disorder Symptomatology: A Test and Extension of Objectification Theory.” Journal of Counseling Psychology, 52(3): 420-428.

Sexual objectification can occur as a social construct among individuals.

A global survey of attitudes toward sexual violence by the Global Forum for Health Research shows that victim-blaming concepts are at least partially accepted in many countries. Victim blame can also be a result of popular media's use of sexual objectification. Sexual objectification is reducing an individual's existence to that of a sexual object. This involves dehumanization.

While some feminists view mass media in societies that they argue are patriarchal to be objectifying, they often focus on pornography as playing an egregious role in habituating men to objectify women. Some social conservatives have taken up aspects of the feminist critique of sexual objectification. In their view however, the increase in the sexual objectification of both sexes in Western culture is one of the negative legacies of the sexual revolution. These critics, notably Wendy Shalit, advocate a return to pre-sexual revolution standards of sexual morality, which Shalit refers to as a "return to modesty", as an antidote to sexual objectification.

This internalization has been termed self- objectification. This theory does not seek to prove the existence of sexual objectification; the theory assumes its existence in culture. This self- objectification then, according to objectification theory, leads to increased habitual body monitoring. With this framework in mind, Fredrickson and Roberts suggest explanations for consequences they believe are the result of sexual objectification.

Two reasons they believed that women in 1970 were oppressed was due to the economic dependence on men, as well as the sexual objectification of women.

"Misandry" at Merriam-Webster online ("First Known Use: circa 1909") Misandry may be manifested in numerous ways, including social exclusion, sex discrimination, hostility, gynocentrism, belittling of men, violence against men, and sexual objectification.

"Sexuality, rights and social justice." Reproductive Health Matters 12.23 (2004): 6-11. demonization of sexDillon, M. C. "Sex objects and sexual objectification: Erotic versus pornographic depiction." Journal of Phenomenological Psychology 29.1 (1998): 92-115.

Keyes, Cheryl Lynette. Rap Music and Street Consciousness. Urbana: University of Illinois Press, 2002, p. 220, . In 2004, Nelly's video for his song "Tip Drill" came under particular criticism for its depiction and sexual objectification of women.

The objectification theory focuses on how the body is treated in society, particularly how female bodies are treated like objects. First coined by Fredrickson & Roberts, they initially constructed objectification theory to show how sexual objectification effects women's psychological well-being (Hill & Fischer, 2008). Sexual objectification can be seen particularly through the media via sexual inspection or even sexual violence. This objectification can lead women to look at their bodies as objects to be 'toyed' with, rather than an entity which works to keep an individual alive and functioning optimally.

Feminists and other advocates of women's rights have criticized such exploitation. The most often criticized aspect of the use of women in mass media is sexual objectification, but dismemberment can be a part of the objectification as well.

The sexual objectification of women involves them being viewed primarily as an object of male sexual desire, rather than as a whole person. Although opinions differ as to which situations are objectionable, many see objectification of women taking place in the sexually oriented depictions of women in advertising, art and media, pornography, the occupations of stripping and prostitution, and women being brazenly evaluated or judged sexually or aesthetically in public spaces and events, such as beauty contests. Some feminists and psychologists argue that sexual objectification can lead to negative psychological effects including eating disorders, depression and sexual dysfunction, and can give women negative self-images because of the belief that their intelligence and competence are currently not being, nor will ever be, acknowledged by society. Sexual objectification of women has also been found to negatively affect women's performance, confidence, and level of position in the workplace.

31, no. 4, Fall2016, pp. 713–729. EBSCOhost, doi:10.1111/hypa.12265. Internalized oppression fosters the beliefs that the self cannot be autonomous, is unworthy of wielding power, and is little more than an object of sexual gratification (see sexual objectification).

Ronald Weitzer and Charis E. Kubrin (2009) have identified five common misogynistic themes in rap lyrics: (a) derogatory naming and shaming of women, (b) sexual objectification of women, (c) legitimization of violence against women, (d) distrust of women, and (e) celebration of prostitution and pimping. Sexual objectification is the most common misogynistic theme in rap music according to Weitzer and Kubrin, whose 2009 analysis found that 67% of the examined rap lyrics sexually objectified women. Pdf. In misogynistic songs, women are described using derogatory names such as "bitches", "hoes", or "chickenheads". These insults seek to degrade them and keep them "in their place".

While the concept of sexual objectification is important within feminist theory, ideas vary widely on what constitutes sexual objectification and what are the ethical implications of such objectification. Some feminists such as Naomi Wolf find the concept of physical attractiveness itself to be problematic, with some radical feminists being opposed to any evaluation of another person's sexual attractiveness based on physical characteristics. John Stoltenberg goes so far as to condemn as wrongfully objectifying any sexual fantasy that involves the visualization of a woman. Radical feminists view objectification as playing a central role in reducing women to what they refer to as the "oppressed sex class".

Another study comparing Muslim and non-Muslim women, finds that Islamic values such as wearing more modest clothing protects a Muslim woman's body image and mental health from unrealistic Western beauty standards. More religiosity was correlated to lower body dissatisfaction, sexual objectification, and less eating disorders.

Women and girls develop an expected physical appearance for themselves, based on observations of others; and are aware that others are likely to observe as well. The sexual objectification and self- objectification of women is believed to influence social gender roles and inequalities between the sexes.

The video game heroine Lara Croft, here portrayed by Alison Carroll, is often used as an example of the sexual objectification of women in games. The portrayal of men and women in video games, as in other media, is a subject of research in gender studies and is discussed in the context of sexism in video gaming. Although women make up about half of video game players, they are significantly underrepresented as characters in mainstream games, despite the prominence of iconic heroines such as Samus Aran or Lara Croft. The portrayal of women in games often reflects traditional gender roles, sexual objectification, or stereotypes such as that of the "damsel in distress".

The film was shot in a mockumentary style inspired by This Is Spinal Tap. After graduation the band moved to London. The band gets their name from the 1953 romantic comedy starring Cary Grant and Deborah Kerr. Their lyrics often tackle issues related to feminism, gender roles, body image and sexual objectification.

Modern choreographers consider nudity one of the possible "costumes" available for dance, some seeing nudity as expressing deeper human qualities through dance which works against the sexual objectification of the body in commercial culture. While nudity in social dance is not common, events such as "Naked Tango" have been held in Germany.

There are many studies that aim to prove that sexual objectification is the root cause of body image issues. One 1995 study intended to prove that sexual advertising contributes to body dissatisfaction. One hundred and thirty nine women were involved. They were split into two groups: The first group where the women watched an advert that showed attractive women.

Gord also warned that the dangers inherent in fornophilia meant that it should only be carried out by experts. Gord used gags in some of his creations. A forniphilic gag is a type of gag that has the primary purpose of sexual objectification or erotic humiliation. Proper safety requires frequent checks of the submissive's well-being.

Wearing hijab and more conservative Islamic clothing resulted in lower rates of sexual objectification and sexual harassment. Wearing hijabs was negatively correlated with reports of sexual harassment. Men report being more uncomfortable approaching women who wore hijabs or niqabs. This concurred with the Islamic reasons and the reason many Muslim women also give for wearing hijab, aside from God commanding them.

PMID 23729971. Transgender people face high rates of harassment and violence both sexual and physical, sexual objectification and social stigma. The experience of transphobia can also lead to negative impacts on mental health, as noted by Lombardi, Melendez & Pinto, Nuttbrock in the article "Experiences of transphobia have consistently been found to be associated with depression, anxiety, and low self-esteem".

Kathleen Stock (born 1972 in Aberdeen, Scotland) is a professor of philosophy at the University of Sussex. She has published on aesthetics, fiction, imagination, sexual objectification, sex/ gender, and sexual orientation. She is currently the vice-president of the British Society of Aesthetics. In her monograph Only Imagine: Fiction, Interpretation and Imagination (2017), she examines the nature of fictional content.

Although both males and females can be sexually objectified, the concept is mainly associated with the objectification of women, and is an important idea in many feminist theories and psychological theories derived from them. Sexual objectification of girls and women contributes to gender inequality, and many psychologists associate objectification with a range of physical and mental health risks in women.

In Alexandre Guillaume Mouslier de Moissy's 1771 play The True Mother (La Vraie Mère), the title character rebukes her husband for treating her as merely an object for his sexual gratification: "Are your senses so gross as to look on these breasts - the respectable treasures of nature - as merely an embellishment, destined to ornament the chest of women?" The issues concerning sexual objectification became first problemized during the 1970s by feminist groups. Since then, it has been argued that the phenomenon of female sexual objectification has increased drastically since its problematization in all levels of life, and has resulted in negative consequences for women, especially in the political sphere. However, a rising form of new third-waver feminist groups have also taken the increased objectification of women as an opportunity to use the female body as a mode of power.

Themes explored in feminist theory include discrimination, stereotyping, objectification (especially sexual objectification), oppression, and patriarchy. In the field of literary criticism, Elaine Showalter describes the development of feminist theory as having three phases. The first she calls "feminist critique", in which the feminist reader examines the ideologies behind literary phenomena. The second Showalter calls "gynocriticism", in which the "woman is producer of textual meaning".

Early television depicted women primarily as idealized "perfect housewives" or (often black) domestic workers.Helford, p. 1 By the mid-1960s and 1970s, cultural mores had relaxed, and sexual objectification of women became more commonplace. This period also saw diversification in women's roles, with blurring between the roles of middle- class housewife and working mother and the representations of women of different age, race, class, sexual orientation.

Sexualization and sexual objectification are practices that contribute to the normalization of hyper-sexualized perceptions of women, which is a theme in rape culture. Hyper-sexualized or pornographic media is often attributed with perpetuating aggressive behaviors and attitudes supporting violence against women. Media depictions of violent sexual activity are also noted to increase behavioral aggression. Sexualizing imagery surfaces and reinforces misogynistic beliefs in some instances.

Themes explored in feminism include discrimination, objectification (especially sexual objectification), oppression, patriarchy,Gilligan, Carol, 'In a Different Voice: Women's Conceptions of Self and Morality' in Harvard Educational Review (1977)Lerman, Hannah, Feminist Ethics in Psychotherapy (Springer Publishing Company, 1990) stereotyping, art historyPollock, Griselda. Looking Back to the Future: Essays on Art, Life and Death. G&B; Arts. 2001. and contemporary art,de Zegher, Catherine.

The majority of sexual objectification comes from the media, be it TV shows, magazines, movies or music videos. Brown suggests that the media impacts the sexual behavior of individuals in three key ways. The First Way- The media takes on the responsibility of keeping sexuality, sexual attitudes, and sexual behaviors at the forefront of the public eye. Take, for example, magazines such as Cosmopolitan or Glamour.

"Why You Shouldn't Punch The Rock". Muscle & Fitness. On November 23, 2017, Paul released his new single, "No Handlebars", a track that draws heavily on an interpolated sample of the song "Handlebars" by the American alternative hip hop group Flobots. The song was heavily criticized for its perceived sexual objectification of women, including a scene in its music video where Paul rides several women like a bicycle.

The Japan Times, November 16, 2012. known for his provocative works of manga, painting, video, photography, sculpture, and installation."10 of the best contemporary art galleries in Tokyo", "[The Mizuma Art Gallery] is also the force behind Makoto Aida, the enfant terrible of the Japanese art world, whose provocative paintings tackle social issues such as the sexual objectification of schoolgirls and violent nationalism." The Guardian, February 1, 2012.

Scholars have treated "sexuality" with caution and reticence especially during the Harlem Renaissance because the history of slavery and the objectification of the black women. Black novelists, especially female black novelists, had to be more discreet when writing about the sexuality of their characters. During this time, women, especially black women, were used as sexual objects. Due to sexual objectification, black novelists wanted to overcome the legacy of rape.

Not only are gamers increasingly being exposed to video games containing sexual objectification of and violence against women, but research also indicates that such exposure can be excessive. A national sample of youth aged 8 to 18 found that "8.5 percent of video game players exhibited pathological patterns of play," which is "very similar to the prevalence demonstrated in many other studies of this age group, including across nations".

The trend of portraying sex-typed images of women and violence against women in popular video games continues to proliferate and promulgate in video games. Video games depicting sexual objectification of women and violence against women resulted in statistically significant increased rape myths acceptance for male study participants but not for female participants. A 2016 study by Fox and Potocki had similar findings, in which they ran a survey which found that "video game consumption throughout the life span is associated with interpersonal aggression, hostile sexism, and RMA [Rape Myth Acceptance]". Out of the top 10 video games listed midyear 2010 (New Super Mario Brothers; Call Of Duty: Modern Warfare; Battlefield: Bad Company 2; Final Fantasy XIII; Wii Fit Plus; God of War III; Pokémon SoulSilver; Wii Sports Resort, Mass Effect 2, Pokémon HeartGold Version; Morris, 2010), most have violent content, including violence against women, and some contain sexual objectification of women.

In social philosophy, objectification is the act of treating a person, or sometimes an animal, as an object or a thing. It is part of dehumanization, the act of disavowing the humanity of others. Sexual objectification, the act of treating a person as a mere object of sexual desire, is a subset of objectification, as is self-objectification, the objectification of one's self. In Marxism, the objectification of social relationships is discussed as "reification".

Sexism exists in the Chinese employment system. Brian Stauffer from Human Rights Watch describes “Sexual objectification of women—treating women as a mere object of sexual desire—is prevalent in Chinese job advertising. Some job postings require women to have certain physical attributes—with respect to height, weight, voice, or facial appearance—that are completely irrelevant to the execution of job duties.” Legal actions have been taken against sexism in China's job field.

Some have argued that the feminist movement itself has contributed to the problem of the sexual objectification of women by promoting "free" love (i.e. men and women choosing to have non-reproductive sex outside of marriage and for their own pleasure). One study found that men exposed to media content in which women were objectified were more likely to accept those behaviors than men who were exposed to content where women were not objectified.

Red Nude (1917), by Amedeo Modigliani, the woman's pose and facial expression indicate her awareness of the male gaze of the spectator for whom the artwork was created.Berger, John Ways of Seeing (1972) pp. 45, 47. In the television series and book Ways of Seeing (1972), the art critic John Berger addressed the sexual objectification of women in the arts by emphasizing that men look and women are looked-at as the subjects of art.

In Chick Flicks and the straight female gaze, Natalie Perfetti-Oates explains how the heterosexual female gaze can become problematic with the rise of male sexual objectification. This is due to the use of sex negativity when enacting this gaze. Sex negativity occurs when men are trapped as solely sex objects. Chick flicks that cast their male leads solely as sex objects for the female viewers, serve to reverse gender discrimination rather than creating gender equality.

Boston Corbett, who was involved in killing John Wilkes Booth, castrated himself after being mocked and tempted by prostitutes. Ann Lee was the founder of the Shakers, a radical Protestant sect that opposed procreation and all sexual activity. The Shakers were more opposed to pregnancy than anything else. Father Divine, founder of the International Peace Mission Movement, advocated religious abstinence from sex and marriage and taught that sexual objectification is a root cause of undesirable social and political conditions.

Women in a bikini contest are valued for their bodies and sexual appeal over other attributes. Sexual objectification is the act of treating a person solely as an object of sexual desire. Objectification more broadly means treating a person as a commodity or an object without regard to their personality or dignity. Objectification is most commonly examined at the level of a society, but can also refer to the behavior of individuals and is a type of dehumanization.

Objectification theory is a framework for understanding the experiences of women in cultures that sexual objectify them, proposed by Barbara Fredrickson and Tomi-Ann Roberts in 1997. Within this framework, Fredrickson and Roberts draw conclusions about women's experiences. This theory states that, because of sexual objectification, women learn to internalize an outsider's view of their bodies as the primary view of themselves. Women, they explain, begin to view their bodies as objects separate from their person.

Capcom added the dog mechanic during development thinking retailers and players alike would not enjoy a survival horror title with a lone female protagonist. Haunting Ground was released April 2005 and received generally mixed reviews. The graphics and presentation were praised, but critics found the gameplay somewhat repetitive, predictable, and derivative of previous horror titles. The game's voyeuristic nature and the sexual objectification of Fiona were highlighted by critics as some of the game's best elements.

They understood the division of labor, including both reproductive labor and productive labor, to perpetuate the marginalization of women. They also understood the sexual objectification of women to be problematic and damaging to potentially revolutionary leaders. Moving toward this platform, however, would not have been possible without the Women of the Young Lords who pressured the organization's leadership to reject machismo during their East Coast Regional Central Committee retreat in May 1970.Enck-Wanzer, Darrel (2010).

Feminist pornography is a genre of film developed by or for those dedicated to gender equality. It was created for the purposes of encouraging women in their pursuit of freedom through sexuality, equality, and pleasure. Many third-wave feminists are open to seeking freedom and rights of sexual equality through entering the adult entertainment workforce. However, many second-wave feminists believe that the oppression and/or sexual objectification of women is inherent in all pornography involving them.

Nicole Dunsdon (born November 7, 1970) was the last person to win the Miss Canada competition before it was cancelled in 1992 due to changing times. Some women's organizations considered the pageant to encourage the sexual objectification of women. Dunsdon, from Summerland, British Columbia, ascribed the cancellation of the pageant to the early 1990s recession, and expressed disappointment "that something as traditional as the Miss Canada pageant was touchable by the economic recession." She graduated from Summerland Secondary School in 1988.

The choice that they have made to be veiled may be seen from a western perspective as though they are being oppressed, but in reality, many of these women have chosen to be covered up for their own personal reasons. Although cover ups can be for empowerment, personal preference, religious affiliation, or for cultural reasons, there has been challenges regarding the true meaning of a hijab and whether a cover-up is a form of sexual objectification or as a personal positive function.

According to the tenets of social learning theory, men who view pornography may learn and transfer the objectifying behaviors they view in pornography to sexual encounters with their female partners. Men's pornography use may correspond to higher levels of experienced sexual objectification by their female partners. Pornography usage may also enable men to treat their female partners in objectifying ways and believe that it is acceptable to do so. Partner's use of pornography can also be negatively linked to women's well-being.

The video game heroine Lara Croft (here portrayed by Alison Carroll) is often cited as an example for the sexual objectification of women in video games. According to a report done by the Entertainment Software Association in 2013, 55% of game players are male and 45% are female. Women's roles in many modern games usually are less important to the game and rely heavily on stereotypes. Video games' female characters also tend be lighter skinned individuals, as are their male counterparts.

Why do we have to look at that?' Men definitely seem to be threatened by male nudity". Some viewers and music writers have attributed the male discomfort of the video to fear of male sexual objectification and homophobia. In a 2000 phone interview for The New York Times, D'Angelo maintained a neutral attitude towards general viewer opinion of the video, stating "With men, if there's any negative reaction, I'm not really going to get an honest feedback ... women love it, most definitely.

Women are expected to cover their head while praying, and in some Rasta groups this is expected of them whenever in public. Rasta discourse insists this female dress code is necessary to prevent women attracting men and presents it as an antidote to the sexual objectification of women in Babylon. Rasta men are permitted to wear whatever they choose. Although men and women took part alongside each other in early Rasta rituals, from the late 1940s and 1950s the Rasta community increasingly encouraged gender segregation for ceremonies.

Men used foot binding to force women to be dependent; due to pain associated with walking, women were limited to household activities. Women with bound feet had considerable difficulty carrying out simple tasks (such as standing up from a chair without assistance) and a lower functional reach than women with normal feet. Foot binding encouraged the sexual objectification of women, since it fulfilled men's sexual desires and fantasies. It reinforced the ideology that women were useful only in sexualized, sedentary roles to satisfy men's desires.

Approximately 100 million people saw the cover. The use of a pregnant sex symbol was in a sense an attempt to combat the pop culture representations of the anathema of the awkward, uncomfortable, and grotesquely excessive female form in a culture that values thinness. Leibovitz' candid portrayal drew a wide spectrum of responses from television, radio and newspaper personalities and the public at large ranging from complaints of sexual objectification to celebrations of the photograph as a symbol of empowerment. One of the judges in Leibovitz v.

On the other hand, the other body is recognized for its use in labor and exploitation which is generally associated with women's bodies in the working-class or with women of color. Second-wave feminist activism has argued for reproductive rights and choice. The women's health movement and lesbian feminism are also associated with this debate.Paragraph forked imported from Wikipedia article Feminist theory as retrieved on 25th March 2020 According to Barry, challenges facing women include sexual objectification, sexual harassment and gender based sexual abuse and violence.

The consequences suggested are: increased feelings of shame, increased feelings of anxiety, decreased peak motivational state, and decreased awareness of internal bodily states. Sexual objectification has been studied based on the proposition that girls and women develop their primary view of their physical selves from observing others. These observations can take place in the media or through personal experience. Through a blend of expected and actual exposure, women are socialized to objectify their own physical characteristics from a third-person perception, which is identified as self-objectification.

"Social currency for girls and women continues to be rooted in physical appearance".Women "all over the world are evaluated and oppressed by their appearances", including their ages, skin tones, or sizes. Many advertisements promote insecurities in their audiences in order to sell them solutions, and so may present retouched images, sexual objectification, and explicit messages that promote "unrealistic images of beauty" (LiveLifeGetActive, 2016) and undermine body image, particularly in female audiences. Body dissatisfaction creates negative attitudes, a damaging mentality, and negative habits in young women.

These performers inherited a lot of the stereotypes that surrounded their previous female performer counterparts: chorus line girls and girl singers. The sexual objectification of women that haunted those two careers was also a part of being in an all female band. Furthermore, chorus line girls had an association with loose morals and even prostitution, and loss of face for an instrumentalist could mean the end of a career. These kinds of associations also made many people assume that female instrumentalists were not talented players.

Ed Gonzalez of Slant Magazine gave a particularly negative review, criticizing it for misogyny and sexual objectification, adding that Ben is "just as skuzzily self-absorbed as his perpetually horny mates." Jim Ridley of The Village Voice said "[t]he movie is too cute by half, made close to unbearable whenever Ben's narration spews glib pseudo-profundities about memory and temporal stillness", while also complimenting some of its comic and visual elements. Desson Thomson of The Washington Post was also critical, describing Ben and Sharon's romance as uninventive and the film as shallow.

Sen P. Ending the presumption of consent: nonconsensual sex in marriage. London, Centre for Health and Gender Equity, 1999 In more liberal cultures, this entitlement takes the form of a general sexualization of the whole culture. This is played out in the sexual objectification of women, with pornography and other forms of sexual entertainment creating the fantasy that all women exist solely for men's sexual pleasure and that women are readily available and desiring to engage in sex at any time, with any man, on a man's terms.

In this example of misogyny, runner Kathrine Switzer is assaulted during the 1967 Boston Marathon by race official Jock Semple, who is trying to prevent her from becoming the first woman to run the race. Misogyny () is the hatred of, contempt for, or prejudice against women or girls. It enforces sexism by punishing those who reject an inferior status for women and rewarding those who accept it. Misogyny manifests in numerous ways, including social exclusion, sex discrimination, hostility, androcentrism, patriarchy, male privilege, belittling of women, disenfranchisement of women, violence against women, and sexual objectification.

Sexual desire is so acute and powerful that it drives out other thoughts that consider the well-being of others and people start to reduce others as a set of bodily parts. Sexual Objectification is a general feature of sexuality that both parties eagerly desire both to be objectifiers and to be objects. Catherine Mackinnon and Andrea Dworkin adopt Kant's understanding of sex as inherently objectifying but refuse to accept that both are objectifiers and the objectified one. They argue that objectification of men and women as asymmetrical.

Lesbian views on sex between women in erotica are complex. Historically, women have been less involved in the production and consumption of erotica in general and visual pornography in particular than have men. Since the late 1960s, radical feminist objections to pornography and the sexual objectification of women have influenced the lesbian community, with some feminists objecting to all pornography. However, since the end of the 1980s' "Feminist Sex Wars" and the beginning of the "women's erotica" movement, feminist views on pornography, both lesbian and heterosexual, have shifted.

Feminist art criticism is a smaller subgroup in the larger realm of feminist theory, because feminist theory seeks to explore the themes of discrimination, sexual objectification, oppression, patriarchy, and stereotyping, feminist art criticism attempts similar exploration. This exploration can be accomplished through a variety of means. Structuralist theories, deconstructionist thought, psychoanalysis, queer analysis, and semiotic interpretations can be used to further comprehend gender symbolism and representation in artistic works. The social structures regarding gender that influence a piece can be understood through interpretations based on stylistic influences and biographical interpretations.

The imagery of women being sexually victimized in advertisements, pornography, films and music videos has been shown to increase support for violence toward women. In a study published in 2008, it was found that in nearly 2,000 print advertisements of 58 magazines popular in the United States, 50% of ads depicted women as sex objects, appearing as a victim in about 10% of advertisements. The main magazines featuring sexual objectification of women were of the fashion and adolescent topics. These advertisements often portrayed women in various positions and expressions that were derived from pornography.

This, in turn, can lead to many serious problems in women and girls, including "body shame, anxiety, negative attitudes toward menstruation, a disrupted flow of consciousness, diminished awareness of internal bodily states, depression, sexual dysfunction, and disordered eating." Sexual objectification occurs when a person is identified by their sexual body parts or sexual function. In essence, an individual loses their identity, and is recognized solely by the physical characteristics of their body. The purpose of this recognition is to bring enjoyment to others, or to serve as a sexual object for society.

The term "kink" has been claimed by some who practice sexual fetishism as a term or synonym for their practices, indicating a range of sexual and sexualistic practices from playful to sexual objectification and certain paraphilias. In the 21st century the term "kink", along with expressions like BDSM, leather and fetish, has become more commonly used than the term paraphilia. Some universities also feature student organizations focused on kink, within the context of wider LGBTI concerns. Psychologist Margie Nichols describes kink as one of the "variations that make up the 'Q' in LGBTQ".

This third perspective allows the male audience to take the female character as his own personal sex object because he can relate himself, through looking, to the male character in the film. In the paper, Mulvey calls for a destruction of modern film structure as the only way to free women from their sexual objectification in film. She argues for a removal of the voyeurism encoded into film by creating distance between the male spectator and the female character. The only way to do so, Mulvey argues, is by destroying the element of voyeurism and "the invisible guest".

In 2014, Official Nintendo Magazine wrote a preview about Senran Kagura 2: Deep Crimson (misnaming it as Senran Kagura Burst 2), labeling the game as "filth" and describing it as sexual objectification with breasts and buttocks. This elicited a response from Hatsuu, the Production Coordinator at Xseed Games, to unofficially reply, criticizing the writer's views as superficial and ignorant to the game's characters, story and actual gameplay. She also mentioned that a writer for Official Nintendo Magazine unsuccessfully attempted to boycott the game without having any knowledge, and that the writer made inappropriate jokes such as describing large breasts as "smuggling fleshy watermelons".

Psychologist Barbara Fredrickson and Tomi-Ann Roberts argued that the sexual objectification of women extends beyond pornography (which emphasizes women's bodies over their uniquely human mental and emotional characteristics) to society generally. There is a normative emphasis on female appearance that causes women to take a third-person perspective on their bodies. The psychological distance women may feel from their bodies might cause them to dehumanize themselves. Some research has indicated that women and men exhibit a "sexual body part recognition bias", in which women's sexual body parts are better recognized when presented in isolation than in their entire bodies.

In 2004, students at Spelman College protested rapper Nelly's music video "Tip Drill" and misogyny in rap music in general. The students criticized the negative portrayal and sexual objectification of African American women in the video, which showed women in bikinis dancing and simulating various sexual acts, men throwing money at women's genitals, and Nelly swiping a credit card through a woman's buttocks. Building on the momentum generated by the Spelman College protests, Essence magazine launched a twelve-month campaign entitled "Take Back the Music" to combat misogyny in hip hop culture. However, the protests and subsequent campaign received little media coverage.

Logo Courageous Cunts was a feminist website, founded in 2012, that is focused on issues of body empowerment and genital self-awareness. Its primary concern is the critical reception of women's health issues, sexualized body images and the sexual objectification of female bodies. Courageous Cunts considers itself to be part of the so-called labia pride movement, with the aim of raising awareness for critical issues around labiaplasty and empowering women to overcome body shame. The site ran a campaign during which women could publicly post photographs of their vulva to promote a natural genital image and protest against "porn aesthetics".

Feminist debates on sex work (see Feminist views of pornography and prostitution) focus primarily on pornography and prostitution. Feminist arguments against these occupations tend to be founded in the notion that these types of work are inherently degrading to women, perpetuate the sexual objectification of women, and/or perpetuate male supremacy. In response, proponents of sex work argue that these claims deny women sex workers' agency, and that choosing to engage in this work can be empowering. They contend that the perspectives of anti-sex work feminists are based on notions of sexuality constructed by the patriarchy to regulate women's expressions sexuality.

Rape rates (police reported) per 100,000 population, 2010–2012 Rape culture is a sociological concept for a setting in which rape is pervasive and normalized due to societal attitudes about gender and sexuality. Behaviors commonly associated with rape culture include victim blaming, slut-shaming, sexual objectification, trivializing rape, denial of widespread rape, refusing to acknowledge the harm caused by sexual violence, or some combination of these. It has been used to describe and explain behavior within social groups, including prison rape and in conflict areas where war rape is used as psychological warfare. Entire societies have been alleged to be rape cultures.

Szymanski was also appointed a consulting editor for the Psychology of Women Quarterly (PWQ) and eventually promoted to associate editor. Szymanski was promoted to a tenured associate professor in UTK's Department of Psychology in 2010 and earned their Angie Warren Perkins Award. She was also elected a fellow of the APA's Division 44, the Society for the Psychological Study of Lesbian, Gay, Bisexual, and Transgender Issues. Following her promotion, Szymanski received the APA's Outstanding Major Contribution Award in the Counseling Psychologist for Sexual Objectification of Women for 2012 and was elected the APA's Woman of the Year.

In 2019, Tanenbaum launched an Instagram project, @BeingDressCoded, that explores the intersection of slut-shaming and dress codes. She has said that she wanted to “create a space in which we don’t just observe individual stories about dress codes but can look for patterns and learn from a larger, collective story about sexism and sexual objectification.” Tanenbaum is the editorial director in Communications at Barnard College, and has previously worked in communications for Planned Parenthood. She is also a member of the Pembroke Center Associates Council, the governing body for the Pembroke Center for Teaching and Research on Women at Brown University.

Although performers may still strip down to pasties and g-string or merkin, the purpose is no longer solely sexual gratification for men but self-expression of the performer and, vicariously, the women in the audience. The DIY aspect is prominent, and furthermore the striptease may be used to challenge sexual objectification, orientation, and other social taboos. The revival, however, has been known to run afoul of liquor licensing and obscenity laws, thus raising free speech (as symbolic speech) issues which have led to successful litigation or changes in municipal policy distinguishing burlesque from other forms of "adult entertainment", as well as provided further fodder for satirical performances.

Throughout the years, the feminist movement has worked to make sex work less oppressive and maintain more agency within the worker's rights. The sex industry inherently sexualizes the women that take part in it as a source of income, but women of color tend to face unequal conditions and fall prey to stereotypes placed on them. Sexual objectification and power imbalances are more likely to occur due to the transaction between the client and sex worker because of the dependency of the worker on the money holder. In environments such as these, it is still important to maintain respect for individuals whether the service provider or client.

Detroit-based rapper Eminem, for example, used misogyny in eleven of the 14 songs on his third studio album The Marshall Mathers LP (2000). Common misogynistic themes include the use of derogatory names such as "bitch" and "ho", sexual objectification of women, legitimization of violence against women, distrust of women, the belittling of sex workers and glorification of pimping. Many commentators believe that African American women suffer from high levels of stereotyping and the resultant discrimination, and have done stretching back as far as the end of slavery. Some argue this leads to the misogynistic claims against African American women to be more rationalized or go unnoticed.

Ni una menos (; Spanish for "Not one [woman] less") is a Latin American fourth-wave grassroots feminist movement, which started in Argentina and has spread across several Latin American countries, that campaigns against gender- based violence. In its official website, Ni una menos defines itself as a "collective scream against machista violence." The campaign was started by a collective of Argentine female artists, journalists and academics, and has grown into "a continental alliance of feminist forces". The movement regularly holds protests against femicides, but has also touched on topics such as gender roles, sexual harassment, gender pay gap, sexual objectification, legality of abortion, sex workers' rights and transgender rights.

The Los Angeles Times said "the only things not negligible about" the movie was "are the radiant beauty of its stars, Grady Hunt's elegant costumes for them and a creditable acting job by Vince Edwards." Writer Marcia Hilmes contrasted the film negatively with Charlie's Angels, arguing that in Angels the lead characters were always first and foremost detectives, with any sexual objectification as an aid to their detective work, whereas in Cover Girls the leads seemed to place as much emphasis on their modelling as their crime fighting.Hilmes p 232 She also pointed out that Cover Girls included scenes implying an erotic relationship between the two leads, further objectifying them sexually.

Primarily, objectification theory describes how women and girls are influenced as a result of expected social and gender roles. Research indicates not all women are influenced equally, due to the anatomical, hormonal, and genetic differences of the female body; however, women's bodies are often objectified and evaluated more frequently. Self- objectification in girls tends to stem from two main causes: the internalization of traditional beauty standards as translated through media as well as any instances of sexual objectification that they might encounter in their daily lives. It is not uncommon for women to translate their anxieties over their constant sense of objectification into obsessive self-surveillance.

To avoid the sexual objectification of women in video games, Mikami refused to eroticize or portray women as submissive in Resident Evil; instead, Valentine was characterized as independent. Of Japanese and French descent, Valentine excelled at bomb disposal during her training with Delta Force, and later joined the Special Tactics and Rescue Service (STARS) special operations unit. Experienced with weapons, explosives material, and lock picking, she was intelligent, brave, and loyal. Although their storylines progress toward "the same general direction", the gameplay differs for Valentine and Redfield; her inventory is larger, and she has a lock pick, giving her early access to more health and ammunition.

A survey found that 72.2% of black, 68.0% of white, and 69.2% of Hispanic youths agree with the suggestion that rap music videos contain "too many" references to sex. Despite the lack of adequate research linking music videos to negative self perception by young girls, research has shown adolescents have a higher susceptibility rate than other age brackets. More importantly, music videos are one of the many significant mediums that perpetuate sexual objectification of females, implicitly creating fixed gender norms. The perpetuation of females being nothing more than seductive "creatures" to men can presumably lead to young girls internalizing their self worth as nothing more than mere objects.

Carol Burke, a professor at the United States Naval Academy (USNA) wrote about "Napalm Sticks to Kids" in the context of military cadences. Since the mid-19th century, cadences have been for improving morale, unit cohesion, and the weight of military labor. Burke observed that "offensiveness drives cadences", noting examples of insubordination, sexual objectification of women, and the celebration of collateral damage; General William Westmoreland explained these topics: "Gallows humor is, after all, merely a defense mechanism for men engaged in perilous and distasteful duties." The "Napalm Sticks to Kids" cadence has been taught at training to all branches of the United States Armed Forces.

Mulvey calls for an eradication of female sexual objectivity, aligning herself with second-wave feminism. She argues that in order for women to be equally represented in the workplace, women must be portrayed as men are: as lacking sexual objectification. Mulvey proposes in her notes to the Criterion Collection DVD of Michael Powell's controversial film, Peeping Tom (a film about a homicidal voyeur who films the deaths of his victims), that the cinema spectator's own voyeurism is made shockingly obvious and even more shockingly, the spectator identifies with the perverted protagonist. The inference is that she includes female spectators in that, identifying with the male observer rather than the female object of the gaze.

Whether it be shown through: records, radio, videos and many other forms allows misogynistic hip hop to be readily available to the public. In a 2001 content analysis of gangsta rap, sociologists Charis E. Kubrin and Ronald Weitzer claimed that approximately 22% of the examined rap lyrics featured violence against women, including depictions of assault, murder and rape. In their opinion, the prevalence of misogynistic themes in songs were as follows: name-calling and shame account for 49%, sexual objectification accounts for 67%, distrust of women at 47%, acts of violence against women account for 18%, and human trafficking account for 20%. By contrast, in a similar study by sociologist Edward G. Armstrong, Eminem scored 78% for violent misogyny.

CNN producer Emma Lacey-Bordeaux met Richie Reseda (then known by the name Richard Edmond Vargas) in 2008 when he was a high school student who was suspended for printing an image of the female anatomy on the cover of the student newspaper in an effort to raise awareness about sexual objectification of women. Lacey-Bordeaux read about the story in the Los Angeles Times. She contacted and interviewed Reseda about the incident in her role as director of the radio station at Georgia State University. She reached out in 2016 when seeking sources for a CNN story about criminal justice and Reseda's wife notified her that he was incarcerated for two armed robberies at local Rite Aid pharmacies.

While there has been considerable media and political discussion of sexualization, there has been little psychological research on what effect media images actually have on the well-being of young people, for example how and to what degree sexual objectification is internalized, becoming self-evaluation. In interviews with Dutch pre-teens, the effects are complicated given the general liberal attitudes toward sexuality, including the legalization of prostitution, which is highly visible. Researchers see the cultural force of commodification (or "pornification") as resulting in the sexualization of athletic bodies, negating the naturalness and beauty of nudity. This is in contrast to the sacredness of the nude athlete in the ancient world, particularly Greece; and the aesthetic appreciation of the nude in art.

While initial reaction from viewers was divided with praise for its sexuality and accusations of sexual objectification, the video received considerable airplay on music video networks such as MTV and BET, and it helped increase mainstream notice of D'Angelo and Voodoo. The music video for "Untitled (How Does It Feel)" had a considerable impact on D'Angelo's recording career, as it helped engender an image of him as a sex icon to a younger generation of fans. However, his discontent with this image led to his period of absence from the music scene following the conclusion of the supporting tour for Voodoo. The song won a Grammy Award for Best Male R&B; Vocal Performance at the 43rd Grammy Awards in 2001.

They can allow the dominant to experience enjoyable and sometimes intensely craved feelings of sexual control and erotic power, and the submissive can enjoy intense feelings of sexual objectification and submission to the dominant. Orgasm denial can also be used to increase a submissive's tolerance for physical stimulation, as training in holding back an orgasm, or to allow the submissive to orgasm on command; as a way to maintain a heightened state of sexual arousal in the submissive, or as a means of erotic humiliation desired by either the submissive or the dominant. Erotic humiliation can also help enforce the dominant's position in the relationship. Orgasm denial is often accompanied by other forms of erotic humiliation such as forcing the submissive to do chores, crossdress, or consume bodily fluids.

Rape culture is a term used within women's studies and feminism, describing a culture in which rape and other sexual violence (usually against women) are common and in which prevalent attitudes, norms, practices, and media condone, normalize, excuse, or encourage sexualized violence. Within the paradigm, acts of sexism are commonly employed to validate and rationalize normative misogynistic practices; for instance, sexist jokes may be told to foster disrespect for women and an accompanying disregard for their well-being, which ultimately make their rape and abuse seem "acceptable". Examples of behaviors said to typify rape culture include victim blaming, trivializing prison rape, and sexual objectification. Rape culture as a concept and social reality was explored in detail in the 1975 film Rape Culture, produced by Margaret Lazarus and Renner Wunderlich for Cambridge Documentary Films.

Cultivation theory is key to the analysis of sexism in video games, because it is the idea that when an individual is exposed long-term to multimedia, their understanding of their reality can change into becoming more similar to the media. These theories also illustrate the ways prominent video game characters are gendered and what is received by the user or viewer. They write that "Gender portrayals of video game characters reinforce a sexist, patriarchal view that men are aggressive and powerful and that women are not healthy, whole persons, but sex objects, eye candy and generally second-class citizens." According to Jeffrey Kuznekoff and Lindsey Rose, the fact that gamers experience misconstrued portrayals of appearance, violence, and sexual objectification can impact their understanding and communication with other gamers, especially female gamers.

Lastly, the third "look" refers to the characters that interact with one another throughout the film. The main idea that seems to bring these actions together is that "looking" is generally seen as an active male role while the passive role of being looked at is immediately adopted as a female characteristic. It is under the construction of patriarchy that Mulvey argues that women in film are tied to desire and that female characters hold an "appearance coded for strong visual and erotic impact". The female actor is never meant to represent a character that directly effects the outcome of a plot or keep the story line going, but is inserted into the film as a way of supporting the male role and "bearing the burden of sexual objectification" that he cannot.

" A 2011 content analysis of music videos found that sexual objectification of women occurs not only in the music videos of male artists, but also female artists. Female rappers and R&B; artists were found to particularly self-objectify, a finding consistent with objectification theory. American academic Tricia Rose has argued that female rappers, most of whom are black, may find it difficult to condemn the misogyny of male rappers out of a need to collectively oppose racism and a desire to not contribute to the stereotype that black masculinity is "pathological". Rebollo-Gil and Moras have further contended a failure by black female rappers fail to provide a blanket defense of both rap music and the genre's misogyny is often "interpreted as treason by their black male counterparts and could possibly harm their career.

The Geena Davis Institute on Gender in Media an organization that has been pushing the industry for years to expand the roles of women in film. Known for her roles in movies such as Thelma and Louise and Commander In Chief, Geena Davis founded her own nonprofit research in order to research and change the way that young girls and women are portrayed in films. Davis has expressed that throughout the film industry, there has been a lack of female representation and a pattern of inaccurate portrayals of women and girls in movie roles. Research into the social implications of the presentation of women in film and its effect on the African-American community indicates that young black girls are exposed to a stereotyped portrayal of black females which goes beyond sexual objectification.

The portrayal of women in video games has been the subject of academic study and controversy since the early 1980s. Recurring themes in articles and discussions on the topic include the sexual objectification and sexualization of female characters, done to appeal to a presumed male audience, as well as the degree to which female characters are independent from their male counterparts within the same game. The sexualization of women involves the use of female bodies in a way that renders them the object of a sexual gaze or perception by others; their bodies are objectified and they are reduced to that of a sex object. Research on exposure to sexualized media representations of women in television and magazines has asked whether it reduces male compassion toward women, and reduces women's perceptions of their desire and suitability for various vocations.

Radical feminism is a perspective within feminism that calls for a radical reordering of society in which male supremacy is eliminated in all social and economic contexts, while recognizing that women's experiences are also affected by other social divisions such as in race, class, and sexual orientation. Radical feminists view society as fundamentally a patriarchy in which men dominate and oppress women. Radical feminists seek to abolish the patriarchy as one front in a struggle to "liberate everyone from an unjust society by challenging existing social norms and institutions." This struggle includes opposing the sexual objectification of women, raising public awareness about such issues as rape and violence against women, challenging the concept of gender roles, and challenging what radical feminists see as a racialized and gendered capitalism that characterizes the United States and many other countries.

How objectification has affected women and society in general is a topic of academic debate, with some saying girls' understanding of the importance of appearance in society may contribute to feelings of fear, shame, and disgust during the transition to womanhood, and others saying that young women are especially susceptible to objectification, as they are often taught that power, respect, and wealth can be derived from one's outward appearance. Pro- feminist cultural critics such as Robert Jensen and Sut Jhally accuse mass media and advertising of promoting the objectification of women to help promote goods and services, and the television and film industries are commonly accused of normalizing the sexual objectification of women. The objection to the objectification of women is not a recent phenomenon. In the French Enlightenment, for example, there was a debate as to whether a woman's breasts were merely a sensual enticement or rather a natural gift.

Eva's Man (1976), Jones's second novel, expands on the pain between African-American women and men, but it does so with an even greater sense of hopelessness. Like Corregidora, Eva's Man relies on minimalist dialogue and on interior monologues, but the latter play an even more important role in Jones' second novel, letting the reader see Eva Medina Canada's past and her descent into mental illness, indicated through repetition of key scenes with variations, implying that Eva's memory disintegrates. The reader encounters Eva in a prison for the criminally insane at the beginning of the story, to which she has been committed for poisoning and castrating her lover. Her flashbacks reveal a life of relentless sexual objectification by men, starting with Freddy, a neighborhood boy who wants to play doctor, to Tyrone, her mother's lover who molests her, to her cousin, who propositions her.

Feminists have long critiqued art for its focus on the male gaze and how it penetrates its multiple dimensions including who makes the art, who it is made for, and who and/or what it represents. There is a link between art and sexual politics including issues surrounding power and the influence the male gaze has on how women are viewed in life and art. The use of art reflects cultural standards within a society, and some feminists claim that art, especially film, was intended for the male consumption of pornified and sexualized women due to patriarchal beliefs mirrored in larger society. The way in which a female hip hop artist uses her words and her body to exude her own sexual empowerment expressed through raunch may be critiqued by feminists who think this aesthetic can be harmful through the mimicry of sexual objectification of women's bodies in their music videos.

He concludes that the types identified by Blanchard and others may be primarily correlational, not causative, in which case "autogynephilia just becomes another trait" of some trans women, rather than their defining characteristic. Julia Serano, a trans activist and biologist by training, writes in the International Journal of Transgenderism that there were flaws in Blanchard's original papers, including that they were conducted among overlapping populations primarily at the Clarke Institute in Toronto without nontranssexual controls, that the subtypes were not empirically derived but instead were "begging the question that transsexuals fall into subtypes based on their sexual orientation," and that further research had found a non-deterministic correlation between cross- gender arousal and sexual orientation. She states that Blanchard did not discuss the idea that cross-gender arousal may be an effect, rather than a cause, of gender dysphoria, and that Blanchard assumed that correlation implied causation. Serano also stated that the wider idea of cross-gender arousal was affected by the prominence of sexual objectification of women, accounting for both a relative lack of cross-gender arousal in transsexual men and similar patterns of autogynephilic arousal in non-transsexual women.