Feminine Voice and Masculinist Aims in Miguel de Cervantes’s La Galatea (1585)

2021 ◽  
pp. 125-154
Keyword(s):  
Author(s):  
Naoko Saito

This article broaches what can sometimes be seen as the suppression of the female voice, sometimes the repression of the feminine. To address these matters involves the reconsideration of the political discourse that pervades education and educational research. This article is an attempt to disclose inequity in apparently equitable space, through the acknowledgment of the voice of disequilibrium. It proposes to re-place the subject of philosophy, and the subject of woman, through an alternative idea of the feminine voice in philosophy. It tries to reconfigure the female voice without negating its fated biological origin and traits, and yet avoiding the confining of thought to the constraints of gender divides. In terms of education, it shall argue for the conversation of justice as a way of cultivating the feminine voice in philosophy: as the voice of disequilibrium. This is an occasion of mutual destabilization and transformation of man and woman, crossing gender divides, and preparing an alternative route to political criticism that not only reclaims the rights of women but releases the thinking of men and women, laying the way for a better, more pluralist, and more democratic politics. The feminine voice can find a way beyond the dominance of instrumental rationality and calculative thinking in the discourse on equity itself. And it can, one might reasonably hope, have an impact on the curriculum of university education.


2009 ◽  
Vol 23 (3) ◽  
pp. 291-294 ◽  
Author(s):  
John Van Borsel ◽  
Joke Janssens ◽  
Marc De Bodt
Keyword(s):  

Author(s):  
Mark Hertica

This chapter presents translations and interpretations of six women's songs that speak to the power of the feminine voice and the feminine soul. These songs feature feminine shape-shifting relations between birds and women, fish and women, and similar mimetic transformations in history, such as the rubber boom. In this context, the spoken word becomes musicalized, and the body realizes different cosmological capacities. The chapter shows that the aesthetic features of these songs resonate with the mythological and metaphysical qualities of the Iluku bird, discussed in Chapter 3. These women's songs are also a form of shamanic practice in which the singer experiences her body as a special locus of subjectivity as defined by relations with birds and other alters. When women sing, they report feeling the power (ushay) “in their flesh” (paygunác aychay) of the birds or animals about which they sing.


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