Passive object or active subject?

2002 ◽  
pp. 182-195
Keyword(s):  
Active Subject ◽  
Passive Object

Taking the Woman's Part: Engendering Roman Love Elegy

Ramus ◽  
1994 ◽  
Vol 23 (1-2) ◽  
pp. 110-128 ◽  
Author(s):  
Maria Wyke
Keyword(s):  
Double Barrier ◽  
Love Elegy ◽  
Biological Sex ◽  
Narrative Perspective ◽  
Active Subject ◽  
The Subject ◽  
Passive Object ◽  
Erotic Desire

When a woman writes herself into the genre of Roman love elegy she appears to break the recognised conventions for its production, according to which woman is the passive object of erotic desire not its active subject, the written not the writer. In discussing the elegiac poetry composed by Sulpicia, one means by which critics have expressed her extraordinary achievement has been to engender Roman love elegy. For Nick Lowe, Sulpicia's unique intervention was to compose poetry on the subject of her own erotic experience in ‘an obstinately male genre’. For Amy Richlin, Sulpicia breached a double barrier, both the ‘male job’ of writing and the ‘male genre’ of elegy. With reference to Sulpicia, I also labelled Augustan elegy as ‘male-oriented verse’ that constructs a ‘male narrative perspective’. While it is evidently the case that, with the notable exception of Sulpicia, the biological sex of all the authors of Roman elegy is male, I would now argue that the genre of elegy itself is not unequivocally ‘masculine’ and that to engender elegy unproblematically as ‘male’ fails to do justice to the genre's crucial play with Roman categories of gender.

Strategic Self-Centering and the Female Narrator: Elizabeth Barrett Browning's Sonnets from the Portuguese

1989 ◽  
Vol 17 ◽  
pp. 75-91
Author(s):  
Sarah Paul
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
The Past ◽  
Idealized Model ◽  
Radical Nature ◽  
Early Twentieth Century ◽  
Active Subject ◽  
Female Voices ◽  
Sonnets From The Portuguese ◽  
Passive Object

As the first love sonnet sequence written by a woman in English, Elizabeth Barrett Browning's Sonnets from the Portuguese challenged the conventions of amatory poetry when it was published in 1850. The genre, which had always required its female inhabitants to maintain an aloof and icy silence, was not accustomed to female voices. Certainly a speaker like the narrator of Barrett Browning's sonnets, loudly proclaiming her right to adopt postures of adoration and unworthiness toward a male love object, had never before disturbed its rarefied spaces. The radical nature of the work, however, seems to have been lost on its nineteenth-century audience. Victorian readers saw nothing shocking or immodest about the sonnets and actually admired them a great deal, particularly because they seemed, oddly enough, to uphold an idealized model of devout and reticent femininity. Hall Caine called them “essentially feminine in their hyper-refinement, in their intense tremulous spirituality” (310–11), while Eric Robertson wrote that “no woman's heart indeed was ever laid barer to us, but no heart could have laid itself bare more purely” (281). Twelve years later Edmund Gosse spoke of the cycle's “noble dignity,” “stainless harmony,” and “high ethical level of distinguished utterance” (11, 21). Neither these nor any other nineteenth- or early twentieth-century critic saw anything revolutionary in the sequence. Only in the past dozen years have feminist critics re-evaluating Sonnets from the Portuguese discovered within its self-deprecating stanzas an “enterprise of heroinism” asserting a woman's “right” to be the active subject of both poetry and feeling rather than their passive object.

scholarly journals When Objects Misbehave

Fabula ◽  
2020 ◽  
Vol 61 (3-4) ◽  
pp. 257-277
Author(s):  
Sara Ann Knutson
Keyword(s):  
First Century ◽  
Oral Traditions ◽  
Complex Interactions ◽  
Source Type ◽  
Narrative Studies ◽  
Active Subject ◽  
Written Form ◽  
Bear Witness ◽  
Passive Object

AbstractThis article explores new possibilities for the interpretation of myths. It asks how people in the past configured their world and its complex interactions, to which their orally-constructed stories bear witness. It is assumed here that myths contain structures of belief, cognition, and world-making beyond their immediate subject matter. This article focuses specifically on the preservation of material objects in myths throughout their transmission from changing oral narratives to written form. We should not assume that objects in oral traditions simply color the narratives; rather, these representations of materials can provide clues into the mentalities of past peoples and how they understood the complex interaction between humans and materials. As a case study, I examine the Old Norse myths, stories containing materials that reinforced Scandinavian oral traditions and gave the stories traction, memory, and influence. In doing so, this article hopes to help bridge materiality studies, narrative studies, and folklore in a way that does not privilege one particular source type over another. The myths reveal ancient Scandinavian conceptions of what constituted an “object,” which are not necessarily the same as our own twenty-first century expectations. The Scandinavian myths present a world not divided between active Subject, passive Object as the Cartesian model would enforce centuries later, but rather one that recognized distinctive object agencies beyond the realm of human intention.

scholarly journals Passion and Reason in Charlotte Brontë’s Jane Eyre and Irigarayan Feminine Divine

2020 ◽  
Vol 89 ◽  
pp. 25-32
Author(s):  
Shiva Hemmati
Keyword(s):  
Jane Eyre ◽  
Female Desire ◽  
Gendered Identity ◽  
Patriarchal Culture ◽  
Patriarchal Society ◽  
Active Subject ◽  
Female Protagonist ◽  
Feminine Divine ◽  
Passive Object ◽  
Subjective Identity

This paper examines Charlotte Brontë’s masterpiece Jane Eyre (1848) through Irigaray’s notion of feminine divine in order to argue how Charlotte Brontë’s main characters achieve their autonomous gendered identity by expressing their erotic desire. It discusses the resistance of Charlotte Brontë’s female protagonist, Jane Eyre, to the dichotomies of active subject/passive object, self/other, body/mind, passion/intellect, and the domination/submission through her ethical and intersubjective relationship with Rochester, her counterpart, rather than being an object of his desire. It is argued how Jane challenges these dualities of patriarchal society and the logic of the same by expressing her erotic nature. Where the patriarchal society tries to confine women in the patriarchal culture, Brontë develops Jane within and against those confines and allows her to experience her female desire by exploring the internal and external nature. Jane’s liberation from the dualities can be read through the lens of Irigaray’s feminine divine which focuses on women’s autonomous gendered identity and creates a balance between their passion and reason. Charlotte Brontë indicates how women are able to achieve individuality, social standing, and subjective identity by expressing their female desire.

scholarly journals THE CONNECTION BETWEEN TRANSCENDENTAL LOGIC AND EGOLOGY: HISTORICAL AND PHILOSOPHICAL ASPECT

2021 ◽  
pp. 130-137
Author(s):  
Yu.G. Sedov ◽  
Keyword(s):  
Formal Logic ◽  
Live Performance ◽  
Philosophical Approach ◽  
Pure Consciousness ◽  
Dual Nature ◽  
Transcendental Logic ◽  
Active Subject ◽  
Human Thinking ◽  
Analytical Section ◽  
Passive Object

The article substantiates the need to create a pure egology in order to analyze the structures of consciousness. The relevance of egological research is to form the foundation for disparate cognitive sciences. On the basis of the historical and philosophical approach, the idea of transcendental logic is considered and it is concluded that it is essentially correlated with the analysis of consciousness. Transcendental logic takes into account the pure content of human thinking, which is not reduced to an empirical composition. Results. 1. The question of the dual nature of logic was first raised by the ancient Stoics, who included in it a section devoted to the analysis of impressions and the formulation of criteria for knowledge. 2. The idea of transcendental logic is presented in its expanded form in the works of Kant, who divided it into analytics and dialectics. In the analytical section, Kant is confronted with a paradox — with the division of the pure I into two parts: active subject and passive object. The identity of these parts does not give any knowledge of how the pure I exist in itself. As a result of the transcendental analysis, a distinction is introduced between the pure and the empirical subject. 3. Hegel’s critical reinterpretation of the idea of transcendental logic leads to a new division, in which it corresponds to an objective logic that takes into account the content of knowledge and its origin. 4. The connection between logic and egology was found in Husserl’s later works, most systematically in “Formal and Transcendental Logic”. Transcendental logic is a subjectively oriented study that clarifies the constitutive activity of pure consciousness. The scientific novelty of the research consists in the fact that the pure I as a subject of egology contains and produces objective logical formations. Formal logic is concerned with inference and proof, being a demonstrative rather than descriptive discipline. This lack of formal logic can only be eliminated by transcendental logic, which directly addresses the experience of pure consciousness. It should be used to study the subjective structures that underlie theoretical reason. Thanks to the experience of egology, there is a real opportunity in the future to solve the question of reason in its relevance and live performance, in which objective formations find their source.

scholarly journals Bartleby as Subject

2021 ◽  
Vol 31 (3) ◽  
pp. 175-190
Keyword(s):  
Short Story ◽  
Giorgio Agamben ◽  
Relational Ontology ◽  
Wall Street ◽  
Active Subject ◽  
Hardt And Negri ◽  
The Subject ◽  
Antonio Negri ◽  
Passive Object ◽  
Contrary Direction

Interpreting Bartleby the scrivener’s formula, “I would prefer not to,” in Herman Melville’s short story is a challenge for many philosophers, and Bartleby’s inaction also hints at a political position. The problem is how to explain this (in)action. It is unclear whether the scrivener is an active subject or a passive object. One potential solution would be to reduce Bartleby’s duality to one of its modes. Michael Hardt and Antonio Negri claim the scrivener is a revolutionary subject; the uncertainty of his actions is regarded as a refusal. Hardt and Negri link this refusal with the next stage in the production of a new society and a new subject. Slavoj Žižek is also ambivalent about “Bartleby politics”. Although the Slovenian philosopher criticizes the authors of Empire, he still declares Bartleby a parallax figure combining action and inaction. However, Žižek did not stake out a position on the ontological status of the scrivener: is he a cunning subject and escape artist, or is he a distinction-basis of the system itself? In the contrary direction, Gilles Deleuze and Giorgio Agamben propose a program for the desubjectification of the scrivener from Wall Street. Here Bartleby is not a subject, but a figure of the ontology of a transcendental source which exists before all ontic differences. The essay offers a radically different solution to the Bartleby problem. It rejects the dichotomy between the subject and object and moves toward the object-oriented theory of action and relational ontology as presented in the works of Bruno Latour. In this ontology, any actors (human or non-human) may turn out situationally to be active or inactive, depending on their position in relation to other actors.

scholarly journals RE-READING MUSTANG IN THE CONTEXT OF THE IDEOLOGICAL COMPONENTS OF NARRATIVE

2021 ◽  
Vol 11 (2) ◽  
pp. 617-634
Author(s):  
Nermin ORTA
Keyword(s):  
Female Body ◽  
Feminist Criticism ◽  
Point Of View ◽  
The Body ◽  
The Gaze ◽  
Patriarchal Ideology ◽  
Active Subject ◽  
Stage Order ◽  
The Subject ◽  
Passive Object

Representation of the female body has been one of the most emphasized issues in gender debates. To refrain from reproducing the patriarchal ideology, it is important to be careful with the distinction between the body being tabooed and covered or transformed into an object of consumption under the name of freedom. The sexualization and objectification of the female body has taken place in the historical process. In many products from works of art to mass media, the woman, who is a passive object in front of the man who is the active/subject, is presented to the consumption of the male gaze. In almost every branch of art, from photography to cinema, the female body has been the object of the gaze and has been turned into an object of desire by being removed from the subject identity. Even in films that are claimed to be made with a woman's point of view and against gender discourses, the female body is sometimes objectified with elements such as the stage order, lighting, and perspective preferences. In this study, which aims to reveal how cinematographic elements can change the world of meaning, the first film of Deniz Gamze Ergüven, Mustang (2015), was discussed with feminist criticism in the axis of object-body by giving examples from various art branches in terms of cinematographic preferences. As a result of the study, it has been determined that the film, which claims to have set out with critical point of view, reproduces the discourses it tries to criticize. The reason for this is that the film falls into the traps of patriarchal ideology.

INEVITABILITY OF REVIVAL: PRO AND COUNTER ANTINATALISM

2019 ◽  
Vol 19 (1) ◽  
pp. 80-88
Author(s):  
Nikolay S. Savkin
Keyword(s):  
Social Relations ◽  
Systematic Approach ◽  
Human Life ◽  
Laws Of Nature ◽  
Arthur Schopenhauer ◽  
Expected Effect ◽  
Philosophy Of Life ◽  
Active Subject ◽  
Over Time ◽  
Natural Way

Introduction. Radical pessimism and militant anti-natalism of Arthur Schopenhauer and David Benathar create an optimistic philosophy of life, according to which life is not meaningless. It is given by nature in a natural way, and a person lives, studies, works, makes a career, achieves results, grows, develops. Being an active subject of his own social relations, a person does not refuse to continue the race, no matter what difficulties, misfortunes and sufferings would be experienced. Benathar convinces that all life is continuous suffering, and existence is constant dying. Therefore, it is better not to be born. Materials and Methods. As the main theoretical and methodological direction of research, the dialectical materialist and integrative approaches are used, the realization of which, in conjunction with the synergetic technique, provides a certain result: is convinced that the idea of anti-natalism is inadequate, the idea of giving up life. A systematic approach and a comprehensive assessment of the studied processes provide for the disclosure of the contradictory nature of anti-natalism. Results of the study are presented in the form of conclusions that human life is naturally given by nature itself. Instincts, needs, interests embodied in a person, stimulate to active actions, and he lives. But even if we finish off with all of humanity by agreement, then over time, according to the laws of nature and according to evolutionary theory, man will inevitably, objectively, and naturally reappear. Discussion and Conclusion. The expected effect of the idea of inevitability of rebirth can be the formation of an optimistic orientation of a significant part of the youth, the idea of continuing life and building happiness, development. As a social being, man is universal, and the awareness of this universality allows one to understand one’s purpose – continuous versatile development.

Light and Sensitivity: Love in the Time of the Daguerreotype

2015 ◽  
Author(s):  
Katarzyna Czeczot
Keyword(s):  
Male Gaze ◽  
History Of Photography ◽  
Sensitive Material ◽  
History Of ◽  
The Subject ◽  
Definition Of ◽  
Relationship Of ◽  
Point Of Departure ◽  
Passive Object

The article deals with the love of Zygmunt Krasiński to Delfina Potocka. The point of departure is the poet's definition of love as looking and reads Krasiński's relationship with his beloved in the context of two phenomena that fascinated him at the time: daguerreotype and magnetism. The invention of the daguerreotype in which the history of photography and spiritism comes together becomes a pretext for the formulation of a new concept of love and the loving subject. In the era of painting the woman was treated as a passive object of the male gaze; photography reverses this scheme of power. Love ceases to be a static relationship of the subject in love and the passive object – the beloved. The philosophy of developing photographs (and invoking phantoms) allows Krasiński - the writing subject to become like a light-sensitive material that reveals the image of the beloved.

La Formación Continua y el Desarrollo de Competencias en los Docentes en Ejercicio del Nivel Secundario

2017 ◽  
Vol 1 (2) ◽  
Author(s):  
Leonor Alexandra Rodríguez Álava
Keyword(s):  
Teaching Practice ◽  
Training And Development ◽  
Middle Level ◽  
Teaching Skills ◽  
Practicing Teachers ◽  
Active Subject ◽  
Continuous Preparation ◽  
Analysis And Synthesis ◽  
The Ideal

Este artículo está encaminado a caracterizar el proceso de formación continua del docente del nivel medio en ejercicio asociado a la formación y desarrollo de sus competencias docentes, para lo que fueron utilizados métodos como   el análisis y síntesis, inducción y deducción, abstracción y concreción, la entrevista, la encuesta y  el cuestionario, donde a partir de sus resultados se  llega a la consideración de que la formación continua es la vía idónea para la formación y desarrollo de competencias docentes en los profesores en ejercicio, donde se debe asumir un modelo que propicie la reflexión sobre la propia práctica del docente, un clima de colaboración   y el profesor como sujeto activo de ese proceso.   Palabras claves: calidad educativa,   competencias docentes,   educador, estudio, preparación continua,  ABSTRACT   This article aims to characterize the process of education for teachers of middle level associated with exercise training and development of their teaching skills, for which methods were used as analysis and synthesis, induction and deduction, abstraction and concreteness, interview and questionnaire survey, where from their results leads to the consideration that the training is the ideal way for the formation and development of teaching skills in practicing teachers, where they must assume a model that encourages reflection on own teaching practice, a climate of collaboration and the teacher as an active subject of that process Keywords: quality of education, teaching skills, teacher, study, continuous preparation

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