Scientific Journal of Pazhuhesh-e Honar

In the world of art, gender, race and social class issues were ignored traditionally and it was assumed there is a kind of human that is universal, historical, without sex and is male and white of course. From this perspective, woman was only as the subject of artistic creation and thus art has been mixed with gender. But Feminist Aesthetics increases woman value from just being a subject and defines another view which based on that woman as a creator of art has the same value as a man. Also it innovates new art patterns that put a spotlight on paying attention to woman and her issues along with aesthetics issues.

The purpose of this paper is to analyze the artworks of French - American sculptor, Louise Bourgeois, from the perspective of Feminist Aesthetics. Her works were inspired by the psychological conflicts, feminist symbols, and a fertile imagination, and many experts believe that she is one of the pioneers of modern feminist art.

This study, at first talks about the feminist aesthetics, then by reviewing the biography of Louise Bourgeois and offering some hypothesis from psychoanalytic point of view, her works are analyzed and adapted to feminist aesthetics. To achieve these goals, the articles that reveal psychological and social aspects of her views and investigate their influences on her works, have been studied by the library research method.

With the expansion of new technologies and the increasing fusion of the body with machines, the concept of embodiment has undergone significant transformation in recent decades, making the relationship between identity, power, and technology a central issue in cultural studies and critical theory. This article seeks to explore how the cyborg body is represented in the science-fiction techno-scientific cinema and what capacities it holds for reproducing or resisting systems of domination. The main research question is framed through an analysis of four contemporary films to determine whether cyborg bodies merely extend mechanisms of control and power discourses, or whether they also enable the redefinition of subjectivity and the subversion of established orders. The aim of the study is to examine how the cyborg body is represented in four key films of the genre, showing how these hybrid bodies, by disrupting binary oppositions such as human/machine, male/female, and nature/culture, provide the potential to dismantle normative systems and offer new forms of embodiment. The research adopts a qualitative methodology based on critical discourse analysis, focusing on the representation of the body and power relations across the narrative, visual, and linguistic dimensions of the films. The four selected films—The Creator, The Machine, Ex Machina, and THX 1138—are analyzed in relation to the design of the body, their social roles, and their relationship with power and technology, within the theoretical frameworks of Donna Haraway’s cyborg feminism, Foucault’s concept of the disciplined body and power, and Baudrillard’s theory of simulacra. The findings suggest that although the cyborg body emerges within power structures, in many cases it transforms into a resistant, self-aware subject capable of redefining the boundaries of the body and agency