Ĭampbell, C.C., 2007, 'God and the second sex', First things: a monthly journal of religion and public life176:51-56. & Munn, N., 2005, ' Wild at heart: Essential reading or "junk food for the soul"?', Priscilla Papers 19(4), 24-26. Feminist art history after postmodernism, University of California Press, Berkeley. Feminism and Art history, Icon, New York. (eds.), 1982, Feminism and art history: questioning the litany, Harper & Row, New York. Garrard (eds.), Feminism and art history: questioning the litany, pp. By John Eldredge' in Contend4TheFaith, viewed 07 July 2009, from īroude, N., 1982, 'Miriam Shapiro and "femmage": Reflections on the conflict between decoration and abstraction in twentieth- century art', in N. īrandt, R., 2003, 'Wild at Heart: Discovering the secret of a man's soul. An introduction, 2nd edn., Manchester University Press, Manchester & New York. 217-252, Schocken Books, New York.īignell, J., 2002, Media semiotics. īenjamin, W., 1968, 'The work of art in the age of mechanical reproduction', in H. īarthes, R., 1979, Image-music-text, transl. īhabha, H.K., 1994, The location of culture, Routledge, London & New York. Women artists in South Africa 1910-1994, Ashgate, Aldershot. & Schmahmann, B., 2005, Between union and liberation. The article questioned the role this information design plays in prescribing the expectations of gendered identity.Īrendt, H. The cover of Captivating creates and taps into the myth of the fairytale and visually represents the female figure in a whimsical manner, thus constructing her as a representation of the spiritual or divine. The cover of Wild at Heart creates and also taps into the colonial myth of conquest. We further investigated how certain myths are created on these covers in support of an active male-passive female opposition and its underlying ideologies. The titles of the two books also contribute to positioning the male as active and the female as passive. This opposition is constructed by visually associating the male figure on the cover of Wild at Heart with active outdoor adventurism and the female figure on Captivating with passive situatedness in nature. Through semiotic visual analysis, we explored how the active male-passive female opposition functions on these covers. Unveiling the Mystery of a Woman's Soul (2005). Discovering the Secret to a Man's Soul (2001) and Captivating. In this article, we described how gender is represented on two Christian book covers by popular author, John Eldredge, namely Wild at Heart. IIDepartment of Communication Science, University of South Africa, South Africa IDepartment of Visual Arts, Stellenbosch University, South Africa Stella Viljoen I Leandra Koenig-Visagie II Gender representation in Christian book covers: A case study
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