scholarly journals Feminismo y escritura: los ensayos de Diamela Eltit

2019 ◽  
Vol 7 (12) ◽  
pp. 159-182
Author(s):  
Mario Federico David Cabrera
Keyword(s):  
Cultural Studies ◽  
Literary Work ◽  
The Body ◽  
Feminist Critique ◽  
Diamela Eltit ◽  
Text Corpus ◽  
Literary Genealogy

I propose in this article to look into the essays of Diamela Eltit and focus on two topics: feminism and writing. For this purpose, I will analyze a text corpus published in the books Emergencias (2000), Signos vitales (2008) and Réplicas (2016) from three ideological and discursive operations: the deconstruction of the body, the recognition of the female literary genealogy and the reflection about writing. My hypothesis is that the author’s essay practice constitutes a critical exercise through which a multiplicity of voices is summoned in order to denature and reconsider the paths of the body, the subjectivity and the language within the frame of the contemporary societies. The theoretical and methodological frame tends to articulate the knowledge of cultural studies and of feminist critique. For this reason, this paper is not only expecte to explore a poorly tackled facet within the studies about Eltit, but also to characterize the variations and tensions related to feminism and writing that gravitate in her literary work.

Derrida on Pornography: Putting (It) Up for Sale

Derrida Today ◽  
2013 ◽  
Vol 6 (1) ◽  
pp. 97-114 ◽  
Author(s):  
Christopher Morris
Keyword(s):  
Cultural Studies ◽  
English Translation ◽  
The Body ◽  
The Past ◽  
French Original ◽  
Definition Of ◽  
Critical Discourses ◽  
Academic Debate

Over the past thirty years, academic debate over pornography in the discourses of feminism and cultural studies has foundered on questions of the performative and of the word's definition. In the polylogue of Droit de regards, pornography is defined as la mise en vente that is taking place in the act of exegesis in progress. (Wills's idiomatic English translation includes an ‘it’ that is absent in the French original). The definition in Droit de regards alludes to the word's etymology (writing by or about prostitutes) but leaves the referent of the ‘sale’ suspended. Pornography as la mise en vente boldly restates the necessary iterability of the sign and anticipates two of Derrida's late arguments: that there is no ‘the’ body and that performatives may be powerless. Deriving a definition of pornography from a truncated etymology exemplifies the prosthesis of origin and challenges other critical discourses to explain how pornography can be understood as anything more than ‘putting (it) up for sale’.

scholarly journals CULTURE-BASED STUDIES’ TOPOGRAPHY IN THE MODERN FRENCH SOCIAL SCIENCE

2019 ◽  
pp. 14-17
Author(s):  
B. E. Nosenok
Keyword(s):  
Social Sciences ◽  
Cultural Studies ◽  
Cultural History ◽  
Interdisciplinary Approach ◽  
The Body ◽  
Social Knowledge ◽  
History Of Culture ◽  
Critical Turn ◽  
Definition Of ◽  
First Time

Cultural studies as a humanities researcher takes the place of an expert. The relevance of this topic is due to the lack of development of the issues of “culture-based studies” in Ukrainian culturology. There is a lack of translated into French or Ukrainian languages of French sources published since 1975. French culturological science, which developed after 1975, is almost not represented in Ukrainian culturology. The present stage of the development of French historiography, which lies at the heart of cultural history, and cultural studies, is associated with increased attention to social knowledge. This stage is characterized by the deployment of a “critical turn”, which proceeds from the following principles: the interdisciplinary approach, the significance of cultural expertise, the severity of publications and the multiplicity of their forms, multidisciplinarity. The “critical turn” affects the following spheres of knowledge: la Culturologie, les Études culturelles, les Sciences de la Culture. The article substantiates the relevance of the use of the concept of “culture-based studies” to the definition of processes that are unfolding within the framework of French humanities and are associated exclusively with the theoretical formations in the context of the social sciences. The purpose of the article is to outline a map of culture-based studies in the field of French humanitaristics. The methodology of the article is based on the application of interdisciplinary and multidisciplinary approaches to research in the field of culturology. Also, methodological developments in the field of “critical turn” and the achievements of the sociological circle and the interdisciplinary discussion club “Eranos” were applied. The scientific novelty of the article is to substantiate the appropriateness of the use of the concept of “culture-based studies” on the definition of processes that are unfolding within the framework of French humanitaristics and relate exclusively to theoretical formations in the context of social sciences. This concept to the field of Ukrainian culturology is introduced for the first time. Also, for the first time, the place and forms of culturology in French humanities were clarified. Conclusions. Working with a source base and methodology is one of the points that are compulsory on the way to the solution of the tasks, the main of which is the formation of the body of fundamental works for French history (including the history of culture) and historiography of the period since 1975 year to the present day. On the basis of this building, there is the prospect of building an alternative national cultural history project addressed to the vector of the French historiographical, historical-anthropological and cultural-related issues in the field of social knowledge. The article presents the arguments why it is appropriate to use the concept of “culture-based studies” in the context of conducting research in relation to French humanitaristics, in particular, the modern period of its development.

scholarly journals Oppression and Female Body: A Feminist Critique of the Novel 'Half the Sky'

2021 ◽  
Vol VI (I) ◽  
pp. 79-85
Author(s):  
Ayesha Khaliq ◽  
Mamona Yasmin Khan ◽  
Rabia Hayat
Keyword(s):  
Female Body ◽  
Sampling Technique ◽  
The Body ◽  
Feminist Critique ◽  
The Novel ◽  
Theoretical Frameworks ◽  
Second Sex ◽  
Interpretive Paradigm ◽  
A Site ◽  
Body Theory

The female body is more than often used as a site to perpetuate violence and oppress women in patriarchal societies. The current study aims to explore how patriarchal oppression targets the female body and how it enforces women to become subalterns having no voice in the selected fictional work, Half the Sky by Kristoff and WuDunn. For this purpose, Simone De Beauvoir's The Second Sex (1949) and Bryan Turner's The Body theory (1984) are used as theoretical frameworks to explore the selected novel. The research is descriptive qualitative, and placed within the interpretive paradigm. The data for the present study is in the form of textual paragraphs, which is taken from the selected novel and is collected through the purposive sampling technique. The study argues on women's oppression and violence. The findings of the study revealed that the dominancy of male counterpart in every field of life is the basic reason for women oppression which leads to the women being subalterns.

scholarly journals Archiveras anarquistas: Corporal Testimony in the Work of Diamela Eltit

2013 ◽  
Vol 1 (1) ◽  
pp. 1-17
Author(s):  
Megan Corbin
Keyword(s):  
Feminist Criticism ◽  
The Body ◽  
Diamela Eltit ◽  
Truth Telling ◽  
The Past ◽  
Cultural Texts ◽  
The Subject ◽  
Chilean Dictatorship ◽  
The Voice ◽  
Historical Model

Abstract: There exists a constant within the trajectory of Diamela Eltit’s contributions to New Chilean Fiction: the turn to the body’s revelatory capacity as a corporal archive of human existence. Simultaneously exploring and rejecting the confines of the traditional testimonial reliance on language, Eltit moves the reader to a re-consideration of the truth-telling function of the biological materiality of the body, placing imperfect corporalities on display as a means of speaking, even where the voice itself may falter.  This essay locates Eltit’s move to the corporal within the trajectory of feminist criticism, the traumatic realities of the Chilean dictatorship and post-dictatorship periods, and the search for the recuperation of those bodily knowledges represented by the disappeared.  Next, it turns to Eltit’s Impuesto a la carne as her most recent re-visioning of the importance of corporal textualities, whether or not the subject-matter of the body’s denunciation is connected to the dictatorship.  Lastly, this essay reconsiders the rejective power of the traditional archive, analyzing the effect set models have on those who seek to tell their stories outside of the traditional testimonial model. I argue that the case of Diamela Eltit is an example of the way writers and producers of cultural texts which actively inscribe alternative memories of the past are resisting the authoritative power of the archive and subversively inscribing narrative memory onto bodily materialities, re-orienting the view of the corporal from an evidentiary showing to an active process of re-telling the past. Eltit’s novels, inscribed with her corporal textual model, give voice to survivors, articulating an alternate historical model for the archive, embracing the biological and making it speak against the rigid abuses of authoritarianism.

The Poetic and the Political in Valery Podoroga’s Analytical Anthropology

2021 ◽  
Vol 32 (5) ◽  
pp. 50
Author(s):  
Oleg Aronson
Keyword(s):  
Special Kind ◽  
Literary Work ◽  
Social Institution ◽  
Cultural Practice ◽  
The Body ◽  
The Political ◽  
The World ◽  
Life Itself ◽  
The Creation ◽  
Analytical Tools

The article is devoted to an analysis of the creative work of the Russian philosopher Valery Podoroga. It focuses on the special discipline he created, namely, “analytical anthropology”, and the book “Anthropograms”, in which Valery Podoroga sets out the basic principles and analytical tools of his philosophical work. Examining the books of the philosopher that preceded the creation of analytical anthropology and those that were written later, it is possible to single out two important lines of his research. First, the philosophy of literature and second, research in the field of the political. Podoroga’s understanding of literature is broader than that of a cultural practice or a social institution. For him, it is the space of the corporal experience of contact with the world, in which the affective aspect of thinking is realized. This line of analysis points to the “poetic” dimension of the experience of thinking, since the emphasis here is on what Jakobson called the “poetic function of language”, its orientation toward itself. It is precisely the literary aspect that becomes important when analyzing the texts of philosophers (Kierkegaard, Nietzsche, Heidegger); however, what is even more important is that in the very experience of fiction Podoroga is trying to find new means for philosophy. His “poetic line” is closely connected with the poetics of space (Bachelard) and the phenomenology of the body (Merleau-Ponty, Henry). It is the combination of poetics and phenomenology that allows Podoroga to overcome both the orientation of poetics exclusively toward language and the categorical apparatus of philosophy. The main result of Valery Podoroga’s work is the creation of an “anthropogram”, a special kind of scheme in which the action of the Work (a literary work, but not only) is immanent to the dynamics of the world. Is it possible to create such anthropograms outside the field of literature? Podoroga does not specify. The article attempts to show how Podoroga’s ways of working with literary texts correlate with his works dealing with the technologies of power and violence, transforming separate political and ethical terms into anthropograms, that is, forms of thought immanent to life itself.

Images of the Female Body in Émile Zola's Novels

2021 ◽  
pp. 301-317
Author(s):  
Irina David
Keyword(s):  
Female Body ◽  
Social Roles ◽  
Literary Work ◽  
Social Practices ◽  
The Body ◽  
French Society ◽  
Social Construct ◽  
The Social ◽  
Women's Role ◽  
And Behavior

The aim of this chapter is to highlight how the female body and the social practices that it is subject to are depicted in Émile Zola's literary work as indicators of dominating perceptions in 19th century patriarchal French society with regard to social roles in general and women's role in society in particular. Rather than focusing on an anatomic, biological analysis of the body, the discussion will turn to the body as a social construct, as metaphor for the overall treatment of women as beings whose appearance and behavior have to constantly be regulated for them to no longer constitute a threat to the male-centric society they live in.

scholarly journals Ceramics (As Containers)

2012 ◽  
Author(s):  
Carl Knappett ◽  
Lambros Malafouris ◽  
Peter Tomkins
Keyword(s):  
Cultural Studies ◽  
Material Culture ◽  
Modern Human ◽  
The Body ◽  
Plastic Medium ◽  
Archaeological Data ◽  
Human Thought ◽  
Human Material

This article focuses on the importance of ceramics in material cultural studies. It proceeds to say that ceramics are considered a key feature of human material culture because of what they are taken to represent in economic, technological, and evolutionary terms. The innovation of taking the plastic medium of clay and marrying it with pyrotechnology to create irreversibly a resilient object — usually in the form of a container, has frequently been assumed to mark a revolutionary stage in the development of modern human thought and practice, forming with agriculture and sedentism a trinity of epoch-changing innovations. This article talks about the idea of the body as being used as a container. It says that ‘Containment’ may well be the ‘function’ offering archaeology one of the most important sources of archaeological data and windows into society, and culture; but very little is known about the cognitive, experiential, and evolutionary grounding of the concepts embodied in each and every container.

scholarly journals THE CULTIVATION OF TRICHOMONAS OF THE HUMAN MOUTH (TETRATRICHOMONAS HOMINIS)

1917 ◽  
Vol 25 (2) ◽  
pp. 341-347 ◽  
Author(s):  
Tokuzo Ohira ◽  
Hideyo Noguchi
Keyword(s):  
Cultural Studies ◽  
Cell Body ◽  
Trichomonas Vaginalis ◽  
The Body ◽  
The Other ◽  
Other Hand ◽  
Deep Groove ◽  
Different Types ◽  
The Difference

Trichomonades from the mouth were studied by Steinberg who proposed to group them into three distinct types; namely, Trichomonas elongata, Trichomonas caudata, and Trichomonas flagellata. Doflein (3) regards them as probably identical with Trichomonas hominis. Opinions differ as to whether or not Trichomonas vaginalis Donné and Trichomonas hominis Grassi are the same species. Lynch, for instance, believes that they are the same species, while von Prowazek (4), Bensen (5), and others (6, 7) insist that they are different types. Bensen's view seems to be well supported by the difference alleged to be found between the mode of encystment in the two trichomonades, were it not for the fact that our knowledge about the so called cyst of trichomonades is still obscure. According to Alexeieff (8) many of the so called cysts were evidently blastomyces contained in the cell body of the trichomonas. An autogamy alleged to take place in cysts as described by Bohne and von Prowazek (9) has not been confirmed by Dobell (10). And Wenyon (11) contends that it has never been found possible to produce any development of these cysts outside the body on the warm stage as can be done with the cysts of Entamœba coli. Therefore, it is still premature to take the process of encystment into consideration as far as the classification of trichomonas is concerned. On the other hand, Rodenwaldt (12) seems to think that there are many species of trichomonas in the human intestines, and Wenyon has described a new trichomonas from the human intestines (Macrostoma mesnili Wenyon). Further cultural studies in the morphology and biology of these organisms must be carried out in order to solve these problems. In the light of modern investigations there are five subgenera to be included under the genus Trichomonas Donné. They are as follows: (1) Protrichomonas Alexeieff, with three anterior flagella, without an undulating membrane. (2) Trichomastix Biitschli) with three anterior flagella and a trailing flagellum (Schleppgeissel) without an undulating membrane. (3) Trichomonas Donné, with three anterior flagella and an undulating membrane. (4) Macrostoma Alexeieff, Amend, Wenyon (11), with three anterior flagella and an undulating membrane wedged in a deep groove (peristome). (5) Tetratrichomonas Parisi (13), with four anterior flagella and an undulating membrane. As far as our culture trichomonas from the human mouth is concerned, it has been shown that it is not strictly a trichomonas and that it should be classed under the subgenus Tetratrichomonas.

scholarly journals Gritos en la piel, sonidos del dolor. A propósito de Zona de Dolor 1 de Diamela Eltit

2019 ◽  
Vol 7 (12) ◽  
pp. 44-70
Author(s):  
Andrés Grumann
Keyword(s):  
Performance Analysis ◽  
Theoretical Perspective ◽  
The Body ◽  
Diamela Eltit ◽  
Theatre Studies ◽  
The Voice

Addressing a theoretical perspective from the Theatre Studies, the writing aims to perform an analysis of the performance Zona de dolor 1 or "Maipú" by Diamela Eltit from 1980. To do this,I stop at the skin, the body, the voice and the pain as surfaces of a sensitive experience generating knowledge that are perceived from the viewing of the available video of theperformance. This performance analysis requires a historiographic rescue in which the partiality with which the concept of "escena de anvanza" (Richard) interpreted the performances Zonas de dolor (1980 and 1982) is discussed, situating a reading of the filiations and crossings of Eltit with Ronald Kay and the seminar that he dedicated to the wisdom ofAntonin Artaud in 1974. The thought about the body, the flesh and the pain of the French teatrist accompanies the following reflections and allows to present the power of the performative in the voice of Diamela Eltit in some in some scenes from the video of Zona de dolor 1.

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