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When some people walk in on her bathing, she laughs and sarcastically chides them for "peeping" without making any attempt to cover herself up. Mei, or at least her Enemy Without, doesn't seem to care much at all about being seen naked.She never gets flustered by sexual things like her friends do, even complimenting Suzu as "sly" for being an Accidental Pervert. Reo is openly lecherous and has a habit of wearing skimpy clothing, and getting other girls to join her.Saya Sasamiya, on the other hand, is the resident Rei Ayanami Expy and appears not to care (she once answers a knock on a locker room door butt-ass-nekkid in the anime in the novel, she has a towel on). The Asterisk War: Claudia Enfield seems to actively enjoy showing off her body, especially to Ayato (who usually tries to avoid thinking about it and exit quickly).Only in 2017 the "Globeleza" appeared fully clothed. Reflecting how skimpy the costumes in Carnival parades can get, for over two decades, between 1993 to 2016, Brazilian channel Globo promoted their coverage of the holiday with a dancer wearing only body paint (mostly NSFW), even when the first and best-known of the dancers was pregnant (in her first gestation in 2003 she had a more discreet paint, in the second a year later she was recreated through CG).Her partner offers her a towel, but she simply says "I'm good". The commercial ends with the agent relaxing her body against the bar in her underwear. This commercial for the KGB, ( as in the Knowledge Generation Bureau, not the main security agency for the Soviet Union), the female agent, played by a pre- Scrubs Elizabeth Bogush, helps to set up a bet between two arguing men where the loser will have to wear her outfit.The young woman doing her laundry in this Miller Genuine Draft commercial, who ends up stripping to her undies and smiles as she removes her bra in front of a man.She takes her top off at the end of the ad. Suzanna Jones in the Mandalay Bay commercial happens to be a fifth-grade teacher and a mother of three who has no problems parading around in a skimpy bikini.The five main M&Ms in the "Bare All" campaign.But whatever the reasoning and specifics, the key factor is that she does understand that her state of undress is typically frowned upon by people. Perhaps she simply got into a situation where she lost her clothes, but simply does not care enough about modesty for it affect her. Perhaps she's just the type who Sleeps in the Nude, spends all of her private time in her house either without clothing or in just her underwear, or only goes nude when she feels safe doing so, such as at the beach.
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This doesn't necessarily mean she prances around the streets in the nude constantly. In contrast, and akin to the Innocent Fanservice Girl, no matter how other characters and the audience may see it, she just doesn't see it as kinky. Exhibitionists expose themselves to others for their own self-gratification. This is not "the exhibitionism trope" either, but rather "the knowingly unashamed trope". She ignores nudity taboos by choice and couldn't care less who's disturbed by it. The key difference between the two is that while the Innocent Fanservice Girl's lack of a nudity taboo is based on the fact that she never knew of its existence (i.e., she's too innocent to know better), the Shameless Fanservice Girl does know, but just doesn't care. The "other half" of the Innocent Fanservice Girl. As a whole, the book opens up a new understanding of the ways in which sculptures, as real or imagined objects, have fundamentally shaped approaches to and receptions of the past in relation to sex, gender and sexuality.A character (usually female) is not embarrassed by their state of undress. It examines how sculptural encounters were imagined and articulated in literature, painting, film and science. Bringing together contributors from across disciplines, including art history, classics, film studies, gender studies, history, literary studies, museum studies, queer theory and reception studies, the volume presents original readings of sculptural art in relation to antiquarianism, aesthetics, collecting cultures, censorship and obscenity, psychoanalysis, sexology, and the experience and regulation of museum spaces. As historical objects, sculptures also draw attention to the different ways in which knowledge about sexuality is facilitated through an engagement with the past. Sculpture has offered a privileged site for the articulation of sexual experience and the formation of sexual knowledge. This book investigates the wide-ranging connections between sculpture, sexuality, and history in Western culture from the eighteenth century to the present.