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Author: Massimo Leone

We all die with a mask on our features. Giuseppe Tomasi di Lampedusa, The Leopard , 1958 ⸪ 1 Introduction: a Hybrid Essay for a Hybrid Object 1 The mask is a device of hybridity. 2 The present article, which aims at semiotically dealing with protective, medical face masks, is a

Open Access
In: Signs and Media

, 2020; Silva et al., 2021). To protect humans against this virus, personal protective equipment (PPE) is being used more frequently. China, for example, increased face mask production by 450% in just one month (Bown, 2020). It is estimated that we have a monthly use of 129 billion face masks and 65

Open Access
In: Animal Biology

This paper aims to study the meanings of the heroine’s horse-faced mask in the story of Kaeo Na Ma. The two versions investigated here are the version composed by Prince Phuwanetnarinrit and that of the Ratcharoen written by Nai But and influenced by the former version. Since Prince Phuwanetnarinrit’s version firstly indicates that the heroine’s horse face can be removed, it is considered as a mask in this paper. Like other masks in Khon or masked drama, the horse face controls the behavior and personality of the wearer. This horse face not only signifies the heroine’s tomboyish manners as stated in other studies, but also communicates various hidden meanings complying with her other characteristics and behaviors. Five meanings are discussed here including the heroine’s unrefined behavior, self hiding, protective gear, ugliness and peculiarity, and masculinity. All of these meanings also exist in Thai sayings, in some literary works, and in the context of the story itself. This horse-faced mask enables the heroine to present her ‘self’ in three different guises and personalities, namely the character of a comedian in the figure of Nang Kaeo; a heroine in the figure of Nang Mani; and a hero in the figure of Manop, an unnamed man. Compared to the abstract meaning of wearing many masks at the same time, Nang Kaeo is very efficient in performing several duties at the same time. She takes good care of her family and society. It can be said that she is really the first warrior heroine in Thai literature and has much influence on other warrior heroines in Thai tales. Nonetheless, as beauty is a typical characteristic of Thai heroines, the hero in this story has to remove Nang Kaeo’s horse face before appointing her his queen — the act that proves the denial of an ugly heroine in Thai tales.

Open Access
In: Manusya: Journal of Humanities

implemented by governments as advised by the World Health Organization ( WHO ). These policies and regulations included social distancing, isolation, quarantine, restrictions on local and international travelling, regular washing of hands, and face masking ( AU & Africa CDC 2020; WHO 2020a). These

In: Perspectives on Global Development and Technology

1 Introduction The COVID-19 pandemic has wreaked havoc in many aspects of our modern lives. Mandatory face masks, local and national lockdowns, and compulsory social distancing in public places have become a part of everyday routine all around the world. Despite these restrictions, the number

Open Access
In: International Organizations Law Review
Author: Wiebke Leister

White face-masks and white face-paint have been used in different cultural contexts long before the increasingly racial discourses of positivism and colonialism started mapping people into anthropometric categories. Japanese Nô theatre, French mime, Punu stilt dance, Shamanistic ceremonies, Carnival processions and Death rituals equally turn the face of the performer into a white screen onto which viewers can project images conjured up by the respective performance. The theoretical part of this project compares context and effect of different white-face personas in white and non-white cultures on the basis of how these visual tropes have been photographically represented. In particular I look at the following aspects: the emptiness of the masked face, the stillness of the painted face, and the ambivalence of the inverted mask. The practice part consists of a photographic exploration of the symbolic figures that lie at the core of Whitened Faces by cross-referencing their diverse cultural histories in the form of an impossible genealogy of reoccurring visual themes, evoking many fluid variations and incantations echoing across time and space. I see my exploration of the ubiquitous iconology of these white-face personas as a form of sighting, archiving and re-disseminating figures that are in many ways haunted by themselves, thus proposing a crosscultural and intertextual anthropological paradigm. The social and photographic significance of the project lies in the ways in which I reassemble disparate partial meanings of these Whitened Faces, deconstructing the cultural, social and at times racial histories they purport to tell.

In: Unsettling Whiteness

identity. It is often complemented by a corresponding costume. A distinction is drawn between the face mask and the full head mask, which is made like a helmet and completely conceals the head, and la...

it to “sound through” (per-sonare; cf. Gellius, Noctes Atticae V 7) in a more sonorous way. The corresponding Greek word is πρόσωπον/prósōpon, “face, mask, front.” The word “persona” is employed in gra...

In: Religion Past and Present Online

Abbildung 8: Day ensemble, Chanel ca. 1968 SL AV NA M A RTINOV IC24 Abbildung 9: Dorissima lace shoe, Christian Louboutin FW 2015 Collection FL AT FASHIONS X L 25 Abbildung 10: Vivienne Westwood and Martin Margiela, reprinted labels and face masks featuring designers’ faces. Slavna Martinovic for the

In: Konsumfashionista

Thought of Laozi 26–39 Dong Zhu and Wei Ren The Semiotics of the Medical Face Mask: East and West 40–70 Massimo Leone The ‘Neutral’ – the Semiotic Paradigm of Sinogram 71–91 Hua Meng and Xuemei Gong The Postulate of Clarification in Cheng Yi’s Commentary on the Book of Changes 92–107 L. Michael

Free access
In: Signs and Media