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Gender in Atlas of Emotions by Giuliana Bruno Report


An Atlas of Emotions

Giuliana Bruno is known for her cartographic representation based on the notion of drawing on mapping relations to capture emotions and define gender representation in space and place. The author turns the aspect of mapping into an interesting field for critical investigation while simultaneously evoking inner emotions and physical explorations. The Art of Mapping discussed here goes beyond a normal cartographic representation.

Bruno presents different works, such as the Carte de pays de Tendre by Madeleine de Scudery, to reinforce gender factors. Mapping reflects a journey that transcends symbolic expressions into forms of ever-changing scenes. Maps are meant to capture experiences, reflect topography and scale, but conceal the abundant narratives of travelers. Thus, mapping offers an insight into understanding emotions, body, landscape, and women and their representations (Bruno 207-246).

The Carte de pays de Tendre shows tenderness associated with the landscape as told through a woman’s point of view. Hence, readers can visualize the journey and create imaginary landscapes with routes that draw out emotions in the audience. The map is used to create mental pictures in the form of imaginary landscapes that capture a long journey. As such, readers can understand the interior landscape through exterior representations where emotions capture the topography of the land. Thus, one can visit the personal by figuring and understanding the land through mapping.

The Carte de pays de Tendre map of the body depicts these experiences through affections noted in the different exploration of gender maps. Bruno presents gardens as landscapes occupied by emotions that can be explored and experienced through memorable movements. In fact, Bruno expands the notion of mapping and geography as she captures various elements, such as salons, gardens, portraits, ‘boys town’/urban settings, and films. These elements reflect the relationship between the landscape and the body to reinforce emotions and gender.

The Draft Summary for Presentation

Cartographic Representation and the Art of Mapping

  • Giuliana Bruno is known for her cartographic representation. For example, different aspects of emotions are presented in the form of maps. The author generally observes that most of these representations excluded women, particularly when she refers to ‘boys town’ in which the role of women remained unclear. Thus, maps provide the perfect form of representation for capturing emotions, defining gender representation in space and place over time.
  • She uses the Carte de pays de Tendre by Madeleine de Scudery to reinforce the gender factor.
  • Thus, mapping offers an insight into understanding emotions, body, landscape, and women and their representation in the world (Bruno 207-246).
  • Mapping creates imaginary landscapes with routes that draw out emotions in the audience
  • The Carte de pays de Tendre map of the body depicts these experiences noted in the gender maps
  • Bruno uses mapping and geography as she captures various elements, such as salons, gardens, portraits, ‘boys town’/urban settings, and films.
  • These elements reinforce emotions and gender through body attributes demonstrated as a landscape represented by maps. The portrait by Gian Lorenzo, Monument to Pope Alexander VII, shows the global role of the church in female form. The woman is associated with the globe to show the overlapping role of gender, fashion, and geography. In this respect, one can conclude that the female position in the world is important even in making maps of the world for geographical representations while advancing society.
  • Geography, as used by Longhi, captures the dwelling of upper-class women in their daily activities, including educating others about the geography of the world.
  • Therefore, An Atlas of Emotions depicts women, their gender roles in shaping the geography of the world, emotions, and fashion among others.

Works Cited

Bruno, Giuliana. Atlas of Emotion: Journeys in Art, Architecture, and Film. New York: Verso, 2002. Print.

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IvyPanda. (2020, September 4). Gender in Atlas of Emotions by Giuliana Bruno. Retrieved from https://ivypanda.com/essays/gender-in-atlas-of-emotions-by-giuliana-bruno/

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"Gender in Atlas of Emotions by Giuliana Bruno." IvyPanda, 4 Sept. 2020, ivypanda.com/essays/gender-in-atlas-of-emotions-by-giuliana-bruno/.

1. IvyPanda. "Gender in Atlas of Emotions by Giuliana Bruno." September 4, 2020. https://ivypanda.com/essays/gender-in-atlas-of-emotions-by-giuliana-bruno/.


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IvyPanda. "Gender in Atlas of Emotions by Giuliana Bruno." September 4, 2020. https://ivypanda.com/essays/gender-in-atlas-of-emotions-by-giuliana-bruno/.

References

IvyPanda. 2020. "Gender in Atlas of Emotions by Giuliana Bruno." September 4, 2020. https://ivypanda.com/essays/gender-in-atlas-of-emotions-by-giuliana-bruno/.

References

IvyPanda. (2020) 'Gender in Atlas of Emotions by Giuliana Bruno'. 4 September.

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