scholarly journals Riuen les meduses: cos i desig a la poesia de Carmelina Sánchez-Cutillas i Maria-Mercè Marçal

2021 ◽  
Vol 17 ◽  
pp. 522
Author(s):  
Noèlia Díaz Vicedo
Keyword(s):  
Theoretical Framework ◽  
Helene Cixous ◽  
Luce Irigaray ◽  
Ecriture Feminine ◽  
First Time ◽  
Female Subjects

Resum: Aquest article estudia per primera vegada les continuïtats entre la poesia de Maria-Mercè Marçal (1952-1998) i Carmelina Sánchez-Cutillas (1921-2009). Específicament, se centra en l’obra poètica publicada en vida de les dues escriptores i que es troba recollida dins Llengua abolida (1973-1988) (1989) de Marçal i Obra poètica (1997) de Sánchez-Cutillas. Encara que les condicions sociohistòriques són diferents entre les dues poetes, en aquest article intentaré demostrar que l’escriptura en totes dues beu directament de la seua experiència vital donada per la posició del seu cos de dona i la interacció intel·lectual amb el llenguatge i els significats culturals heretats. Des d’aquests qüestionaments, en aquest article oferiré una aproximació al contínuum de la problemàtica de la subjectivitat femenina, nucli de la seua obra, des de la interacció entre cos i llenguatge, paràmetres centrals que ocupen els estudis de la diferència sexual, en particular en la teoria denominada écriture féminine desenvolupada per les filòsofes Hélène Cixous i Luce Irigaray. Paraules clau: cos, desig, Carmelina Sánchez-Cutillas, Maria-Mercè Marçal, écriture féminine Abstract: This article explores for the first time the continuities between the poetry of Maria-Mercè Marçal (1952-1998) and Carmelina Sánchez-Cutillas (1921-2009). Particularly, it focuses upon the poetic works published during their lifetime, collected in the volumes Abolished Language (1973-1988) (1989) by Marçal and Poetic Works (1997) by Sánchez-Cutillas. Despite their different socio-historical conditions, in this article I analyse how their vital particular experiences as female subjects become the cornerstone of their writing and how the position of their body interacts with language, consequently challenging their inherited socio-cultural significations. In order to discuss my points, I draw upon the parameters developed by the theoretical framework of écriture féminine developed by philosophers Hélène Cixous and Luce Irigaray.Keywords: body, desire, Carmelina Sánchez-Cutillas, Maria-Mercè Marçal, écriture féminine

O MANTO DE PENÉLOPE E TEIA DE ARACNE: TECITURAS FEMINISTAS DE NIETZSCHE

2020 ◽  
Vol 1 (42) ◽  
pp. 373
Author(s):  
Mariana Andrade
Keyword(s):  
Helene Cixous ◽  
Luce Irigaray ◽  
Ecriture Feminine

Em Sobre verdade e mentira no sentido extra-moral, Nietzsche põe em evidência o esquecimento ou apagamento da gênese metafórica da linguagem. Segundo o filósofo, a linguagem seria como que um cemitério de metáforas: metáforas mortas e engessadas nos conceitos ao ponto de esquecerem a si mesmas enquanto metáforas e se tornarem “verdades”. Gostaríamos, então, nas pegadas das possibilidades aventadas por Nietzsche, de desenterrar uma dessas metáforas esquecidas da linguagem: explorar a relação originária, etimológica e metafórica, entre texto e tecido. Ora, todas as atividades associadas à tecelagem e à costura foram, histórica e culturalmente, relegadas às mulheres e relacionadas ao universo feminino. Suspeitamos, e é este o sentido do presente ensaio, que esse esquecimento esconda também uma relação entre a escrita e o feminino que foi apagada e suplantada ao longo da história. O nosso esforço será, então, o de trazer à tona as múltiplas constelações entre o feminino e a escrita. Para realizar tal tarefa, nossa investigação percorrerá o seguinte trajeto: partindo de um primeiro excurso pelo pensamento nietzschiano seguiremos, num segundo momento, por um desvio de resgate metafórico pela mitologia grega e desembocarmos, por fim, na defesa da écriture féminine realizada pelas filósofas Luce Irigaray e Hélène Cixous.

SUBJECTIVITY, CREATIVE ACT AND EROS OF WOMEN: "THE ESSENCE" COMIC AND SELECTED FEMINIST THEORIES

2020 ◽  
Vol 60 (2) ◽  
pp. 60-70
Author(s):  
Magda Hamer
Keyword(s):  
Female Identity ◽  
Helene Cixous ◽  
Luce Irigaray ◽  
Female Desire ◽  
Ecriture Feminine ◽  
Collective Work ◽  
Feminist Theories ◽  
The Subject ◽  
The Right ◽  
Nomadic Subject

Starting from the modern interpretation of the theories: parler femme by Luce Irigaray (adopting a speaking position that will enable woman/women to articulate their own sexuality, speak with their own voice) and écriture feminine by Hélène Cixous (a text freed by writing a female desire that carries the potential of revolutionary transformations) I come to the theory of the nomadic subject by Rosi Braidotti (the central categories are movement, changeability and the endless process of shaping the subject). I ask questions about the possibilities and limitations of finding or building a female identity and subject through creativity, empowering women in the domain of images related to sexuality, and the right to talk about their desires as creating their own place in the space of culture. As an example of creative acts building subjectivity, I present an erotic comic "Being" which is the first collective work on Polish soil that is supposed to express erotic fantasies from the perspective of women.

Twórczość feministyczna a kobieca podmiotowość: ujęcie monstrualne

2021 ◽  
pp. 73-83
Author(s):  
Matylda Szempruch
Keyword(s):  
Visual Arts ◽  
Women's Literature ◽  
Judith Butler ◽  
Julia Kristeva ◽  
Helene Cixous ◽  
Feminist Art ◽  
Luce Irigaray ◽  
Cindy Sherman ◽  
Ecriture Feminine ◽  
The Relationship

The article shows the relationship between philosophical thought and feminist art in terms of searching for subjectivity in women’s creations. This is a review of the theories proposed by Luce Irigaray, Hélène Cixous, Julia Kristeva, and by Judith Butler, Donna Haraway, and Rosi Braidotti, which, as this article proves, manifest themselves in the art that defines itself as feminist. Monstrosity is an important prospect here. The author presents écriture féminine and women’s literature, namely Charlotte Roche’s Wet Places and Izabela Filipiak’s Total Amnesia. Moreover, visual arts by Cindy Sherman, Chili Kumari Burman, Jo Spece, as well as a performance by Carolee Schneemann and ORLAN are discussed.

scholarly journals Rethinking the politics of writing differently through écriture féminine

2018 ◽  
Vol 50 (1) ◽  
pp. 11-23 ◽  
Author(s):  
Sheena J. Vachhani
Keyword(s):  
Sexual Difference ◽  
The Body ◽  
Helene Cixous ◽  
Luce Irigaray ◽  
Ecriture Feminine ◽  
Writing Practices ◽  
Feminist Politics ◽  
Feminist Thought ◽  
The Feminine ◽  
Feminist Writing

This article examines the writing practices most often associated with French feminist thought called écriture féminine and subjects it to debates concerning embodied writing in management and organisation studies. Écriture féminine explores the intersections between language, sexual difference and writing from the body. Often considered a distinct and alluring strand of feminist writing and philosophy, I draw together possibilities for its use and explore implications that emerge for teaching and researching management and organisations. With focus on two modes of writing the feminine, through Luce Irigaray and Hélène Cixous, the intersections between sex/text are examined and form ways of decentring conventional modes of writing. The article concludes with discussing the politics of writing differently for researching, teaching and writing about organisations, the need to expose the effects of a masculine singularity in writing and how it may suppress and conceal possibilities but also offer opportunities for claiming space for an affective feminist politics inscribed in language.

Quem nasceu primeiro, o ovo ou a galinha? Reflexões em torno da trama do feminino em Clarice Lispector

2011 ◽  
Vol 9 ◽  
Author(s):  
Lucia Helena
Keyword(s):  
Helene Cixous ◽  
Clarice Lispector ◽  
Ecriture Feminine

O artigo discute a questão do gênero, na atividade literária de escritoras mulheres, consciente de que não é tarefa da literatura representar de forma transparente o contexto, nem um eterno feminino. Chamando a atenção para o conceito de generização desenvolvido por Teresa de Lauretis em seu artigo “Tecnologias de gênero”, o ensaio comenta algumas passagens de Lispector, discutindo seus textos e questionando se sua ficção é ou não o produto de uma écriture féminine, como propôs Hélène Cixous.

scholarly journals A Pandemia Covid-19 e o Estado de Emergência em Portugal: Breves Considerações Sobre Políticas Públicas

2020 ◽  
Vol 14 ◽  
pp. 33-45
Author(s):  
Leandro Berenguer ◽  
◽  
Keyword(s):  
Civil Society ◽  
Public Policies ◽  
Third Republic ◽  
Theoretical Framework ◽  
The State ◽  
Fundamental Rights ◽  
Top Down ◽  
State Of Emergency ◽  
The Third ◽  
First Time

The COVID-19 pandemic prompted States to adopt exceptional measures to contain their spreads rates and therefore mitigate their effects. In Portugal there was a need to resort to the figure of the state of emergency, being used for the first time since the foundation of the third Republic. To respond to a situation of public calamity, the suspension, albeit partial, of fundamental rights, freedoms and guarantees was used, adopting measures with repercussions in the most varied areas of civil society. Based on the security context of a State, this article intends to analyse the declarations of the state of emergency in Portugal in the light of the theoretical framework of public policies, reflecting on the process of implementing the state of emergency. To this end, the top-down and bottom-up approaches are placed in confrontation as the main theories of public policies implementation in the analysis of the unprecedented political context in Portugal.

scholarly journals Literatuurgeschiedschrijving én empirische literatuurwetenschap?

1970 ◽  
Vol 57 ◽  
pp. 21-35
Author(s):  
Daan Vandenhaute
Keyword(s):  
Empirical Study ◽  
Empirical Research ◽  
Theoretical Framework ◽  
Empirical Approach ◽  
First Time

The empirical study of literature might be tolerated as a discipline, withinliterary studies it remains an unknown, peripheral possibility, that has to dealwith a lot of scepticism and ignorance. Often it is associated with sheer quantitativeresearch, only focusing, moreover, on the contemporary. In this articleI try to show that the empirical approach also can be applied for the study ofliterary history, with attention paid to qualitative aspects. I demonstrate thisby means of empirical research I have done into the Swedish first time poetsof the 1970s. I point out that the empirical study of literature is conceived ofas a methodology that is applied within a specific theoretical framework, thesystemic study of literature.

scholarly journals STRATEGI PENARASIAN DAN PEMOSISIAN SUBJEK PEREMPUAN DALAM MEREKA BILANG, SAYA MONYET! KARYA DJENAR MAESA AYU: PERSPEKTIF POSFEMINISME (Narration Strategic and Woman's Positioning as Subject on Mereka Bilang, Saya Monyet! Karya Djenar Maesa Ayu: Postfeminism's Perspective)

Kandai ◽  
2019 ◽  
Vol 15 (1) ◽  
pp. 101
Author(s):  
Ahmad Zamzuri
Keyword(s):  
Short Stories ◽  
Data Analysis ◽  
Short Story ◽  
Theoretical Framework ◽  
And Behavior ◽  
As If ◽  
Female Subjects

Penelitian ini membahas 6 (enam) cerita pendek dalam kumpulan cerita pendek Mereka Bilang, Saya Monyet! karya Djenar Maesa Ayu melalui perspektif posfeminisme. Tujuan penelitian adalah mengungkap strategi penarasian perempuan yang dilakukan oleh Djenar Maesa Ayu. Untuk mencapai tujuan, penelitian dilakukan dalam beberapa tahap, yaitu penentuan objek penelitian dan kerangka teori, pengumpulan dan analisis data, dan simpulan. Objek penelitian ini terdiri dari 6 (enam) cerita pendek karya Djenar Maesa Ayu, antara lain Mereka Bilang, Saya Monyet!, Lintah, Durian, Melukis Jendela, Wong Asu, dan Namanya…. Melalui cerita pendek tersebut, data kemudian dianalisis menggunakan metode analisis wacana kritis dengan menafsirkan seluruh perangkat kebahasaan dan menghubungkannya dengan perspektif posfeminisme. Selain merelasikan dengan perspektif posfeminisme, teori sudut pandang menurut Tzevetan Todorov akan digunakan untuk mengungkap strategi penarasian perempuan yang dilakukan oleh Djenar Maesa Ayu. Hasil penelitian menunjukkan bahwa perempuan seakan-akan menjadi objek dalam ruang dominasi patriarki, melainkan sejatinya menjadi sentral subjek yang melakukan resistensi terhadap wacana dominan (patriartki) melalui penyebutan laki-laki dengan nama kepala hewan yang disesuaikan dengan sifat dan perilakunya, antara lain Si Kepala Gajah, Si Kepala Sapi, Si Kepala Anjing. Selain itu, wujud resistensi perempuan dilakukan juga melalui penyayatan pipi dan pemotongan pusat keperkasaan (kuasa) laki-laki (penis). Penarasian dalam cerita pendek karya Djenar Maesa Ayu menunjukkan sindiran (satire) bagi bahwa laki-laki tidak lebih cerdas dari perempuan yang disebut monyet.(This study discusses six short stories in the anthology of Djenar Maesa Ayu's work entitled Mereka Bilang, Saya Monyet! through a post feminism perspective. The problem in this study relates to the narration of women as victims in the patriarchal space. The aim of the study was to reveal the narration of women, the position of female subjects, and the discourse embedded in the short stories. To achieve the goal, this research was conducted in several stages, such as choosing object of research and the theoretical framework, collecting data, analysis, and conclusions. The object of this study consist of six short stories by Djenar Maesa Ayu, including "Mereka Bilang, Saya Monyet! "Lintah", "Durian", "Melukis Jendela", "Wong Asu", and "Namanya ....". Data is collected through in-depth reading and quoting words, phrases, sentences, paragraphs, and dialogues which are then described analytically. The data is then analyzed by interpreting all linguistic tools and connecting them with the postfeminism perspective. The results showed that women were narrated as if they were objects in the space of patriarchal domination, but instead they became a central subject who carried out resistance to patriarchal discourse by giving calls in the form of names of animal heads according to the nature and behavior of men, including Si Kepala Gajah, Si Kepala Sapi, dan Si Kepala Anjing. Other resistance carried out by women, through slashing the cheek and cutting penis, the symbol of man’s power. The narration in the short story of Djenar Maesa Ayu's works shows satire that men is not smarter than women whose called monkeys by them.)

Maintenance of endothelial function following acute resistance exercise in females is associated with a tempered blood pressure response

2020 ◽  
Vol 129 (4) ◽  
pp. 792-799 ◽  
Author(s):  
Takuma Morishima ◽  
Jaume Padilla ◽  
Yosuke Tsuchiya ◽  
Eisuke Ochi
Keyword(s):  
Blood Pressure ◽  
Sexual Dimorphism ◽  
Endothelial Function ◽  
Resistance Exercise ◽  
Blood Pressure Response ◽  
Pressure Response ◽  
Healthy Male ◽  
Vascular Effects ◽  
First Time ◽  
Female Subjects

The present data demonstrate for the first time that acute resistance exercise impairs endothelial function in young, healthy male but not female subjects. In addition, we show that the preservation of endothelial function in females is associated with a mitigated blood pressure response during resistance exercise. Accordingly, this work portrays a sexual dimorphism in the barostress response, and ensuing vascular effects, to resistance exercise.

Donna Haraway's Cyborg Touching (Up/On) Luce Irigaray's Ethics and the Interval Between: Poethics as Embodied Writing

Hypatia ◽  
2012 ◽  
Vol 27 (1) ◽  
pp. 182-200 ◽  
Author(s):  
Margaret E. Toye
Keyword(s):  
The Body ◽  
Ethical Framework ◽  
Luce Irigaray ◽  
Feminist Ethics ◽  
Aesthetics And Politics ◽  
Ecriture Feminine ◽  
Ethical Concept ◽  
Embodied Writing ◽  
The Many

In this article, I argue that Donna Haraway's figure of the cyborg needs to be reassessed and extricated from the many misunderstandings that surround it. First, I suggest that we consider her cyborg as an ethical concept. I propose that her cyborg can be productively placed within the ethical framework developed by Luce Irigaray, especially in relationship to her concept of the “interval between.” Second, I consider how Haraway's “cyborg writing” can be understood as embodied ethical writing, that is, as a contemporary écriture feminine. I believe that this cyborgian “writing the body” offers us a way of both creating and understanding texts that think through ethics, bodies, aesthetics, and politics together as part of a vital and relevant contemporary feminist ethics of embodiment. I employ the term “poethics” as a useful way to describe such a practice.

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