Female body

In this chapter, we contribute to the decolonial feminisms that are expanding our understanding of extractive geographies and political ecologies of the subsoil. In this, we take extractivism to denote both the material processes of removal as well as a particular logic (not only of economic accumulation but of being) that renders materials, territories and bodies extractible (and necessarily so). We critically examine the ways in which these extractive logics and processes frequently initiate and condone racialised sexualised violence. In this, we argue that intersectional violence is at the heart of extractivism. Extraction settles within internal ecologies (including ecologies of health and disease) in ways that reaffirm colonial logics of race and sexuality. This broadening of the meaning of extractivism is important in understanding (a) how extraction operates through multiple forms and scales of power and (b) its intersectional and pluriform impacts. Sexual violence, we conclude, is at the centre of racialised extractivism; this is illustrated in corporate language and the more informal logics of residential tourism, both of which are united by colonial logics that would render black life disposable. We conclude with reflections on the value of decolonial feminist dialogue-as-critique that attends to the resonances across and between black women’s experiences of extractivism.

En Las artimañas de la moda: una genealogía del poder vestimentario, Camilo Retana parte de una hipótesis audaz: la moda pone en juego una serie de mecanismos de control que es preciso detectar puesto que contribuyen a regular el funcionamiento social de los cuerpos; más aún, la moda los consolida, los instituye, los refuerza y hasta los legitima. En otras palabras, la moda cuestiona, critica o discute los cuerpos como un modo de administrarlos, regularlos y estructurarlos. La moda no viste al cuerpo desnudo sino que, por el contrario, el cuerpo desnudo es el producto de nuestras conjeturas vestimentarias. De manera que las vestimentas operan como el intento hasta cierto punto dialógico entre un sujeto que “negocia” sus modos de arropamiento y una sociedad que le dicta sus mandatos por inscribir ese cuerpo en una grilla de inteligibilidad que transita los distintos discursos sociales; en especial los de sexo-género, pero también los de clase, cultura, religiosidad y rebeldía. El texto, claro, conciso, argumentado con solidez y bien articulado recorre filósofos y teóricos: va desde Foucault y Agamben a Butler; desde Kant y Rousseau a Simmel, desde Lipovetsky y Deleuze hasta Haraway, por sólo marcar algunos de sus recorridos de ida y vuelta, en un minucioso análisis conceptual. En suma, un aporte tan rico como innovador en el campo de las reflexiones acerca del cuerpo y de la moda.

María Luisa Femenías

L'elaborato presenta il dibattito interno al femminismo di seconda ondata riguardante il sesso e l'uso (o abuso) del corpo femminile. Il pensiero pro-sex e quello anti-sex si scontrano, dando vita a un accesa discussione portata avanti attraverso saggi di notevole portata culturale.

This article is the outcome of the discussion ocurred during the 4th Encounter of Researchers from PostGraduate Programs in Visual-Arts of Rio de Janeiro State. It is about the presence of the fat body as a support in the project of the Britsh artist Rebecca D. Harris. The corpulence in her productions appear as a form of subversion of the corporal normatization, mainly inherents from contemporary medical discourses. Harris appropriates embroidery and seams methods to dialog with her weight considered excessive by those discourses, and allows the construction of connections between body, identity and gender. Her productions interact with the event´s subject – Indisciplines: the art in front of the urgent-about art in the public sphere, considering it's role in the sociocultural questionings.

La performance BORDER MOVEMENT… [Grenzbewegung… / movimiento fronterizo…] es presentada, descrita y analizada desde una perspectiva que fluctúa entre la primera persona y la tercera. La acción fronteriza se investiga desde su entorno geopolítico junto a los distintos “espectadores” de la acción, la relación entre la creación de la frontera junto a su sanación a través de los 2 cuerpos femeninos presentes y las implicaciones de este proceso que continúa vivo en la piel. Las relaciones fronterizas se develan entre los cuerpos y se concibe el terreno corporal como geografía afectiva y social.
Palabras clave: cuerpo-geografía, performance, frontera, piel

The performance BORDER MOVEMENT... [Grenzbewegung… / movimiento fronterizo…] is presented, described and analysed from a perspective that fluctuates between the first person and the third person. The border action is investigated from its geopolitical reality together with the different "spectators" of the action, the relationship between the creation of the border together with its healing through the 2 female bodies present and the implications of this process that continues to be alive in the skin. Border relations are revealed between the bodies and the corporal terrain is conceived as affective and social geography.
Keywords: body-geography, performance, border, skin

This construction of an environment, and the presence of the human body operating as an occupant of the demarcated space produces a dynamic relationship across Carolee Schneemann's Four Fur Cutting Boards (1962-63) and her photographed performance series Eye Body: 36 Transformative Actions (1963). As Schneemann moves between the role of artist through the construction of Four Fur Cutting Boards as a collage-like sculpture/set piece and of the performing subject, positioning herself within the assemblage of Cutting Boards , she considers her own marginal female body as an environmental, material canvas onto which socioeconomic constructions can be placed into, examined, and challenged.

This paper will consider how the history and processes of Printmaking can provide a framework for contemporary material engagement within a feminist perspective. Cultural and historical lineages of Printmedia are discussed to contextualize the appropriation of these legacies within the expanded print practices of two Australian artists, Elvis Richardson and Carolyn Craig. Their contemporary engagement with the material residues of reproductive technologies is discussed in relation to the print practice of Francisco Goya, whose prints articulate opinion and dissent within the social and political sphere. This subversive content reflects a print practice whose commerce was centred around dissemination of ideas over the acquisition of money.

This paper focuses on the global political aspects of the "pro-life" vs "pro-choice" ideologies with an accent on the American social, political and religious living visa -vis their reflection, implication and repercussions on everyday life, as well as their correlation to a contemporary psychological novel A Book of American Martyrs by Joyce Carol Oates. This complex issue is expressed through the acts of severe violence and suffering, manifested through homicide, profound moral erosion, and the deep psychological trauma the entire "pro-life problem" has brought into the lives of many American families. Furthermore, the research analyzes not only the literary analogy of the consequences of this (already) escalated problem as well as its aftermath and its impact on the people's lives, underlying the abandonment, loss, and the dysfunctional relations as a result of it, but also, it further dives into the statistical analysis of the existing problem in real life, in terms of the current abortion numbers and statistics on a broader scale, worldwide and in the United States at present, thus sketching a portrait of multiple perspectives of the violent responses to the imposed restrictions on the freedom of choice, as well as further explaining its medical, philosophical and cultural implications which lead to a current, modern-day general revolt related to the hash obstruction and restriction of the female rights to free and safe abortion.

La obra de la artista Cris Bierrenbach hace una serie de comentarios con respecto al lugar del cuerpo en la sociedad actual. A través de este texto podemos relacionar esos comentarios con diversas situaciones que tienen que ver con el cuerpo y el género. La teoría cuir sirve para analizar como es que el uso de la imagen en esta artista brasileña, nos enfrenta con los límites sociales y corporales del género. Los orificios corporales, los espacios del cuerpo, pueden entrar en la norma o pueden cuestionarla. Las diversas relaciones de imagen y cuerpo que Bierrenbach crea a través del videoarte, la fotografía y el performance, nos llevan a los límites de cada uno de los espacios sociales que nuestro cuerpo habita, para crear un espacio artístico de reflexión.

U članku se analizira srednjovjekovno hrvatskolatiničko prikazanje Muka svete Margarite. Članak je strukturiran dvodijelno: u prvome dijelu članka tematizira se žanrovska struktura hagiografskih legendi o ranokršćanskim djevicama-mučenicama te ranokršćanska konceptualizacija fenomena mučeništva i djevičanstva, dok se u drugome dijelu članka na tome tragu analizira fenomen herojskoga ženskog djevičanstva.

Ključne riječi: Muka svete Margarite, hagiografija, srednjovjekovno prikazanje, legende o djevicama-mučenicama, žensko religijsko djevičanstvo

The Roman du Comte de Poitiers is chiefly known for the elaboration of the wager motif in the first half of the romance, where a valiant noblewoman is publicly accused of infidelity and later exonerated. The second part of the romance has been less frequently studied. It contains a highly unusual depiction of a group of women who are commanded to disrobe so that their virginity may be ascertained. It is generally agreed that the two parts of the story are unrelated. In this article I argue that the two articulations of female honor and humiliation are closely associated and that they serve as an example of a more pervasive rhetoric of "visible honor" found in other romances of the French 12th and 13th centuries.

How can one read Mark 5:1-43’s story from the multiple levels of post-colonial, feminist and HIV/AIDS perspectives?  There are, no doubt, many ways of reading any text.  But more importantly each of the above mentioned paradigm is a diverse field of methods and theories.  Mine can only be one small aspect of each of the above paradigms. My exposition will be done through providing a background of a narrative reading of the plot and setting of the story, while the analysis of characters will also come through in this section, it will largely be covered in all other sections.  The narrative reading will therefore be brought to interact with the methodological narratives of postcolonial, feminist and HIV/AIDS frameworks.  Yet the use of the postcolonial here denotes that my reading is both on and through the surface—that is, it also assumes a concrete history of the Roman Empire as well as to read the text as a narrative. The article employs narrative, postcolonial, gender and HIV/AIDS theoretical frameworks to read Mark 5:21-43.

Este capítulo se enfoca en las experiencias en torno a la lactancia materna de mujeres que habitan en la Ciudad de México y en algunas localidades de Morelos como Cuernavaca, Cuautla y Tepoztlán. Se consideraron tanto las experiencias de quienes lactaron como las de quienes no lo hicieron, o las que combinaron leche materna con fórmula láctea.
La decisión anterior está basada en las primeras aproximaciones al campo, donde fue notorio que las mujeres que no habían dado leche materna los primeros seis meses de vida del menor, tenían también una relación con la lactancia y los significados atribuidos a esta práctica.
El título tiene la intención de hacer reflexionar sobre el carácter social de lo que se concibe como “natural” en el contexto de la investigación. Hace referencia a la consigna feminista que demanda poner atención en el ámbito privado como una dimensión política de la vida de las sociedades.

Why Lydia Bennet is the True Feminist Heroine of Pride and Prejudice

Frequently overlooked as little more than Elizabeth Bennet’s annoying little sister, Lydia is not always characterized in the most favorable terms: “vain, ignorant, idle, and absolutely uncontrolled” and “the most determined flirt that ever made herself or her family ridiculous” (Austen 135), are just some of the choice words her sister uses to describe her. However, I find, that these seemingly negative attributes are precisely what make Lydia a progressive female character as they radically break with the expectations on proper femininity at the time. Her vanity, for instance, can also be interpreted as valuable self-confidence at a time where modesty demanded women to be almost afraid of their own bodies. Similarly, her “idle” and ”uncontrolled” (135) tastes for pleasure and entertainment are significant when women were expected to be silent, self-sacrificing beings. Her Ignorance, too, also renders her ignorant of many of society’s oppressive norms, allowing her to act and speak her mind unabashedly. Finally, for a woman to be a “flirt” (135) and freely express her sexual desires can really only be considered negative in an antiquated society that will not permit her to be anything short of ‘pure’ and ‘angelic’. Lydia, thus, rebels against Regency constructions of femininity in a major way. Perhaps most importantly, her rebellion is never punished for after her elopement with Wickham (one of the most radical acts at a time were female purity before matrimony was near-sacred) she returns still “untamed, unabashed” and “fearless” (181). Therefore, Lydia Bennet, as I will argue, can be considered far more than just the comic side character of the “silliest [girl] in the country” (18), in fact she might well be the real ‘feminist heroine’ of Pride and Prejudice.

This paper draws the connection between the changes in the American perspectives on abortion in the second half of the twentieth century and shifts in the cultural, social and legal status of the society. The major change occurred in 1973, when it was ruled by the Supreme Court in Roe v. Wade that it was unconstitutional to restrict abortion by law for it violated a woman’s right to privacy. The law, however, left many special cases unaddressed, such as when a fetus becomes a person or when the government has the right to step in and claim protection over "human" life. The ambiguity of the laws left the debate over the legality of abortion open, and movements continued into the twenty-first century in attempt to both undo the ruling and to secure the reproductive rights of women. As perspectives are shaped by reproductive rights issues of the past, the issue continues into the twenty-first century with more unanswered questions.

This paper is part of an ongoing research on Sexual and Reproductive Rights in West Africa, with a particular focus in Senegal. It starts with the assumption that the body is a signifier of local social and moral worlds, and also that it is through the body that experiences of freedom and autonomy, violence, social pressure and inequality are manifested. Individuals are socially situated through their gender but gender representations are disputed by social actors, endogenous and exogenous. The claims for social change concerning FGM/C envisions an abandonment of the practice as part of a social project that isn't always shared with practicing communities in the same lines as those set by stakeholders. Political and activist mobilisation often fails to antecipate backlashes. With this paper I want to claim that we have to cast a wider view on gender inequality, social values and norms, because both practicing and non-practicing communities share cultural representations that fuel an overepresentation of femininity, female sexuality and the female body and its link to social order and morality.

Introduction by Jude Woods and Nina Kane.
The book includes contributions from speakers who participated in the Agender: Female and Transgendered Masculinities Conference (Leeds Art Gallery, June 2014)  and performers, artists and theorists interested in the queer and gender politics opened up by the theme.  It focuses primarily on the development of queer cultures of art, dance, theatre and performance arts in Europe in the C20th, and current issues of concern in the C21st, and will contextualise this in a wider history of gender. Most of the submissions focus explicitly on the gender binary and explore constructions of masculinity, femininity and issues relating to Transgender or Transsexual experience as mediated through the arts. It also contains a number of chapters pertaining to the work of artists Marlowe Moss and Claude Cahun - exhibited in the 'Parallel Lives' exhibition held at Leeds Art Gallery (April - Sept 2014), and the impetus for the original conference. There is a focus on galleries and the presence (or absence) of queer work in gallery practice and programming, and in the wider cultural canons of art history and performance. The book has been commissioned by Cambridge Scholars Publishing and is co-authored / co-edited by Dr Nina Kane,and Jude Woods as part of the conclusion to the PoMoGaze project and Queer Eye Partnership (Leeds Art Gallery and Cast-Off Drama, 2013-2015). Published 1st June 2017.

The black African body is a highly historicised space as it has been tortured and traumatised
through the processes of enslavement and colonialism. As for the black female body,
a raced and gendered space, it has been even more exploited, objectified and fragmented
by hegemonic and patriarchal systems. In diasporic Caribbean women’s literature, the black female
body is often depicted as a site of tension, and a complex entity struggling to make itself
heard outside of historical spaces of oppression and mutilation. This body needs to transcend
traumatic memory in order to renew and heal. Grace Nichols’s The Fat Black Woman’s Poems and
M. NourbeSe Philip’s She Tries Her Tongue, Her Silence Softly Breaks and A Genealogy of Resistance
allow the black female body to be heard beyond intersectional oppressions. This paper seeks to
demonstrate how these women writers embody resistance as they assert corporeal visibility and
allow transcultural bodies to speak and heal through creative discourse.

Στο άρθρο  που ακολουθεί επιχειρείται μια ανάπτυξη των διαπιστώσεων της ιστορικού Barbara Duden για το δημόσιο και το ιδιωτικό, σε σχέση με τις αντιλήψεις, τις πρακτικές και τους χώρους του τοκετού.
Για να καταστεί 'ορατό'  το "ηγεμονικό παράδειγμα του τεχνοκρατικού τοκετού"  υιοθετήθηκε μια 'εναλλακτική', 'ολιστική' άποψη  για την υγεία και την αναπαραγωγή, όπου τη θέση του υποκειμένου κατέχει η γυναίκα που γεννά.

This paper examines representations of suffering and female subjectivity in Greg Rucka’s Batman: Death and the Maidens. In this series, Rucka introduces a new female villain to the DC Universe, Nyssa Raatko. Her quest for vengeance against her father, Batman’s immortal archnemesis Ra’s al Ghul, eventually pits her against Batman himself. Through graphic depictions of torture and loss, partly contextualized through the Holocaust, the comic explores women’s trauma in both historical and fantastical contexts. Comparing Nyssa’s trauma to that of Bruce Wayne, Rucka draws attention to the disparities in treatments of women’s and men’s experiences in superhero comics. Death and the Maidens ultimately poses the question of how women’s trauma functions in such comics. Perhaps equally importantly, the story and its unique female characterisation point toward anxieties about women’s empowerment within its fictional setting and the comics industry itself. This paper deploys the work of Foucault, Kristeva, and Creed to explore these anxieties.

This  paper  is  a  preliminary  account  of  the  progress  of  my  work  on  the  early  stages  of the reception and accommodation in Hebrew of literature and theories on female anatomy, physiology, and disease by medieval Jewish authors and translators. While the first steps of my research on the medieval Hebrew corpus of literature devoted to the care of women’s health led me to specifically address the textual production and transmission  of  the  later  Middle  Ages,  in  the  course  of  my  enquiry  I  have  become  progressively,  and  inevitably,  interested  in  the  beginning  of  these  processes,  and  in  the factors that prompted the production and dissemination of this type of literature.
The first focus of my study is the texts themselves. Hence, I have endeavoured to  compile  and  describe  a  preliminary  inventory,  in  which  I  have  included  treatises  that circulated independently, as well as some sections on women’s conditions within  medical  encyclopaedias  that  had  a  strong  bearing  on  the  formation  of  the  Latin  tradition of gynaecological literature and were instrumental in the formation of the Hebrew  gynaecological  corpus.  I  have  paid  attention  to  textual  choices,  as  well  as  to contexts of production and dissemination and to models of appropriation. I have also briefly explored the circulation of the earliest texts up to the end of the period, in order to catch a glimpse, albeit small, of the gynaecological literature available to learned Jews at the time. To that end, I have relied on the sources and quotations in the section on women’s ailments in Sēfer hayōšer, a medical encyclopaedia written in Provence around the fourth quarter of the thirteenth century. I hope to pursue the analysis of the sources and citations in other treatises and books, as well as the manu-script distribution of the inventory of texts presented here, in future work. Finally, I have enquired into the rationale(s) behind the foundation of the gynaecological He-brew corpus. The end of this chapter contains an appendix with a preliminary list of the gynaecological Hebrew texts produced during the period studied.

Autorka skupia się na analizie trzech prac wideo Anety Grzeszykowskiej. "Black" (2007), "Ból głowy" (2008) i "Bolimorfia" (2008-2010) analizowane są w kontekście sposobów reprezentacji kobiecego ciała w historii sztuki, a także na tle pozostałych prac artystki. Grzeszykowska ujawnia i tematyzuje sposoby ujmowania w ramy, niejako wykorzystując dotychczasowe metody przedstawiania kobiecego ciała w pracach artystek określanych jako feministyczne. Ważnymi kategoriami analitycznymi są w artykule tło i rama, które stanowią podstawowe mechanizmy prezentowania przedstawienia. To one nadają widoczność ciału i określają również jego granice / The author focuses on the analysis of three video works of Aneta Grzeszykowska. "Black" (2007), "Headache" (2008) and "Bolimorfia" (2008-2010) are analysed in the context of different ways of representing the female body in the history of art, but also taking into the account other works of the artist. The artist reveals the ways of showing female body and classifies them into a framework, using existing methods of presenting the female body in the work of feminist artists. Background and frame are important analytical categories in the article, as they are the basic mechanisms of presenting the spectacle. They make the body visible but also define its boundaries.

Japan is very often seen as a country of ambiguities and contradictions. The latest technology meets tradition here. In the popular culture of the West, Japan is also perceived as a disturbingly sensual country. This article is an attempt to combine elements such as Western technology and eastern sexuality based on the work of contemporary artist Mari Katayama. A number of proposals are presented how to interpret Katayama's work as a reinterpretation of sociosexual and bodily as well as corporeal norms of the past and present, and of the West and of the East.

We live in a society marked by the increasing contact between communities from very different backgrounds. In such circumstances, some black women have started to use their hair as a political instrument to break racial and gender boundaries, asking to be recognised in society. In this context, translation emerges as a tool to explain this process of female empowerment. Hence, hair becomes a surface for translation and the act of modifying it, the translation itself. This situation has been depicted by Chimamanda Ngozi Adichie in her novel Americanah, describing this female struggle within the racial context in the United States. As a consequence, her work is full of specialised terms regarding black women’s hair, which is a reflection of their demands. The hypothesis of this presentation is the following: the terms regarding black women hair in the novel Americanah pose very specific challenges to the translator because they are translations of a particular ideology. The main aims are to define these particular challenges and to examine if their ideology has been preserved in the Spanish translation of the novel. The methodology will be interdisciplinary and will include works from general sociology (Foucault 1979), translation studies (Vidal 2010), terminology applied to translation (Cabré 2010) and gender and body studies (Bordo 1993).

Cosa significa protestare per le strade, perché occupare uno spazio nella città? Veniamo da un recente risveglio, da anni che hanno riportato la politica nelle piazze e nelle strade. In tutto il mondo uomini e donne sono scesi in piazza manifestando un'urgenza condivisa di resistenza, di riappropriazione degli spazi e della capacità di agire e fare politica a partire dalle vite. Come comprendere la specificità di queste esperienze? Perché chiamarle rivolte urbane e non rivoluzioni? Quali sono gli strumenti per leggere una rivolta senza astrarre, generalizzare, neutralizzare? Stare per le strade è la pratica di 'stasis' che crea lo spazio per la rivolta e contemporaneamente dispone un modo affettivo di vivere lo spazio urbano. Durante una protesta, la corporeità è esposta in tutta la sua intensità appassionata e vulnerabile. Il corpo al centro permette di cogliere la relazione che questi eventi intessono con gli spazi urbani, il nuovo senso della politica che propongono e i rapporti tra uomini e donne nel momento della protesta.

This paper offers a critical analysis of Leanne O'Sullivan's debut collection Waiting for My Clothes, in particular focusing on its recurrent themes of anorexia and bulimia. Leanne O'Sullivan is part of a new generation of Irish poets, located at the crossroads of tradition and modernity. In its critique of the so-called beauty myth, Waiting for My Clothes takes the reader to a New Ireland where the anxiety for national definitions has lost part of its force in favour of the progressive internalisation of Irish life. However, this paper will concentrate on O'Sullivan's examination of the religious dimension of anorexic patterns, an aspect that presents her as heiress of the influence exerted by Catholicism in the conceptualisations of femininity in Ireland.

The dissection of Sarah Baartman's body is considered a colonial scientific practice that rendered the Africans “less than human.” This paper is interested in how this project travels into Francophone literature through the autobiographical novel 53cm (1999) by Swiss–Gabonese author Sandrine Bessora van Nguema. Dedicated to Baartman, 53cm depicts Bessora's alter-ego, Zara, an illegal alien in Paris. Although skinny-bottomed Zara is the embodied opposite of Baartman's steatopygia, she too is considered “alien” by French society. I analyse Zara's lived experience as a “known” body who is subject to a dissecting gaze based in the anatomical “knowledge” of Sarah's enlarged buttocks. Conversely, I consider dissection as a subversive practice in Zara's satirical performance of being an ethnographer of French (the “knower”). I conclude that the Zara/Sarah representational model reframes dissection as a subversive performance born of the feeling of indignity created by persistent colonial ontological categories.

Based on an examination of news coverage from 2013 to mid-2018, this article analyzes rhetoric in favor of school dress code policies. I illustrate how women’s bodies are problematized in order to manifest
grounds for regulating female attire. By employing pragmatic lines of argument, pro-dress code rhetors foster what I term consequential transference. Because pragmatic arguments rely on identifying consequences, questions of agency are implicit, as presuppositions of who is responsible for the consequences are embedded into the fabric of the discourse. In this case, dress code defenders paint female immodesty as responsible for several harmful potentialities, including negative social judgments, sexual harassment, and the distraction of male students in the classroom. I assert that pragmatic argumentation is a serviceable tool for underwriting misogynistic culture because consequential transference warrants female regulation and punishment by diminishing the accountability of other actors.

Este artigo propõe uma leitura acerca da produção duchampiana que se relaciona com a noção de furo, meu objeto de pesquisa: a ideia de que pelos furos do corpo, e por meio da arte, é possível estabelecer conexões com outros seres. Sendo assim, o erotismo de Bataille, bem como a teoria freudiana, é caro a este texto. Palavras chave: Furo, corpo,
erotismo, Duchamp

THE BRIDE, VIRGIN AND NAKED: MARCEL DUCHAMP AND THE HOLE | This article proposes a reading about the duchampian production
that relates to the notion of hole researched by me: the idea that through the holes of the body, and through art, it is possible to establish connections with other beings. Thus, Bataille’s eroticism as well as Freud’s theory are important in this text. Keywords: Hole, body, eroticism, Duchamp.

Lady Lumley's Iphigenia, a dramatization of sacrifice for a political cause, echoes the Lumley family's participation in the politics of the 1550s. The role of Lady Lumley's father in the events surrounding Lady Jane Grey's death illuminates his daughter's translation of Euripides, revealing affinities with Palestinian constructions of gender and female 'martyrdom' whereby women transcend convention while self-silencing their voices of protest. In both the fictional world of Lumley's Iphigenia and contemporary Palestine, marriage and sacrifice are metaphorically associated. Clytemnestra's opposition to Agamemnon's plan to sacrifice Iphigenia and the Chorus's complicity with the former enacts a presentist dialogue with contemporary Palestinian mothers divided in their support of or opposition to their daughters' participation in armed resistance. Controversially, in common Palestinian parlance those dying defending the Palestinian cause (including, even more controversially, suicide bombers) are termed 'martyrs' for a just cause. Iphigenia's heroism and Agamemnon's indecisions therefore bear contemporary resonances.

The Cultural Revolution, Chinese Economic Reform, One Child Policy, and the 1989 Movement of Democratic Change not only affected the development of the People’s Republic of China but also influenced the generation who was born after 1979 at the time the One-Child Policy began. My photography exhibition - “The One” presents the perspective of an only child born into this regime. This exhibition narrates the birth and rebirth of an only child who was not privileged by the experience or education of the Tiananmen Square Protest in 1989. The work attempts to recreate stories from fragmented memories that incorporate my fantasies. This exhibition represents the influence of the one-child policy on my parent's generation and mine. In addition to these restrictions it portrays elements of my desire to be unhindered from unexplained political ideologies, government cultural propaganda and bureaucracy.

Il 21° secolo ha inaugurato una ridefinizione del corpo attraverso gli sviluppi cibernetici e biotecnologici. Come vedremo in questo articolo, il concetto di “umano” è stato ampiamente contestato, mentre “postumano” e “transumano” sono diventati termini di ricerca filosofica e scientifica. Tali cambi stanno inducendo un cambio paradigmatico nella percezione ontologica ed epistemologica del corpo umano. Questo articolo presenta una riflessione originale sulla tematica della corporeità nell'era postumana, ponendo domande quali: gli esseri postumani avranno bisogno di qualche forma di corporalità? Per rispondere, analizzeremo concetti chiave come “umano”, “corpo” e “sé incarnato”, e poi presenteremo le risposte che danno il postumanesimo e il transumanesimo a tali quesiti, in modo critico e generativo.

Questo testo è la traduzione di Francesca Ferrando, The Body, in R. Ranish, S. Lorenz (eds.), Post-and Transhumanism: An Introduction , Peter Lang Publisher, Frankfurt am Main, pp. 213-226.

Abstract (in English)

The 21st century has ushered in a redefinition of the body by cybernetic and biotechnological developments. the concept of "human" has been broadly challenged, while "posthu-man" and "transhuman" have become terms of philosophical and scientific enquiry. These scenarios are inducing a paradigm shift in the ontological and epistemological perception of the human body. this article presents an original reflection on the topic of embodiment in the posthuman era, by asking questions such as: will posthumans need any embodiment at all? Posthumanism and transhumanism offer different answers to these questions. before presenting them, we will analyze key concepts such as "human", "body" and "embodied self", in critical and generative ways.

El presente trabajo se abocó a analizar el uso del cuerpo de las solistas de pop femenino contemporáneo en sus performances en vivo. Buscando los trazos de la utilización objetual del mismo (exhibicionismo y libidinosidad, utilización de prendas para resaltar partes erógenas), las referencias culturales que su uso kinésico implica (coreografías alusivas, referencias corporales a una clase social o grupo cultural, etc.) y el uso del vestuario se buscó reflexionar acerca de qué tipo de funcionalidad y papeles cumple el organismo a la hora de presentar un objeto que se revela producto comercial e ícono sexual a la vez apuntando a un público lo más amplio posible.
Los paralenguajes son vitales para el análisis clarividente acerca de las actuaciones en vivo de las solistas que se encuentran en circulación permanente; muchas de ellas tienden a ser un leitmotiv en los programas de actualidad y un tema de conversación recurrente (ya que los portales de internet y los medios masivos clásicos son de dominio público y sobreviven gracias a la redundancia) en la vida cotidiana. Como todo producto mediático, las performances son un evento creativo que logra imponerse a través de diversos canales muchas veces mediatizada y sesgadamente (como muestra el caso de Miley Cyrus y su polémica performance).
El trabajo partirá del análisis de dos performances coreográficas (Miley Cyrus en el Barclays Center -MTV video Music Awards- y Taylor Swift en Staples Center, ambas ocurridas en agosto del corriente año) para determinar qué tipo de elecciones corporales se ponen en juego en la ejecución musical. Para ello se utilizará el andamiaje conceptual de la kinésica que propone Edward Hall, los aportes sobre pornografización de la cultura popular de Isabelle Aubin y otros estudios sobre la imagen, los medios de comunicación, la kinésica y la proxémica.

En: https://dialnet.unirioja.es/servlet/libro?codigo=704249. (E-Book). ISBN: 987-372-9003

Feminism has been the part of cultural field and expressed within the
media. Mass media, especially comics, have exposed the obsession of female bodies as body property in which it has to display certain form of femininity. Sexual objectification is presented throughout the media including comics. Female characters portrayal is sexually objectified when it focuses on certain female body parts. This study is aimed at analyzing and discussing female objectification that is presented by female characters in webtoon series entitled Lookism.
Lookism is webtoon series written and drawn by Park Taejun that
started in the late 2015 in Korean on Naver Webtoon and published in English version on Line Webtoon in mid-2017 hitherto. This research looks closely at its female characters portrayal in the series. This study pinpoints graphic manifestation of sexualized schoolgirls in selected episode 1 to 200 of Lookism that contain the richest data. Then, analyzing and writing process are established using feminism to interpret whether the series hold sexism that targets the female
characters.
The findings revealed that Lookism has much data regarding
representation of sexism in its female characters using feminism framework. It is found that female characters in Lookism is highly sexualized by the male counterparts. The sexualization takes various forms: exposing body parts those are breast, hips and legs, being the victim of verbal and physical sexual harassments, and being the object of rape. This series also holds message that beauty has power
and that female has to conform certain quality of femininity in order to be socially accepted.

In this paper, the patriarchal politics involved in remarrying the widow in colonial Bengal is delved into with special reference to Rituparno Ghosh's highly successful cinematic adaptation of Rabindranath Tagore's novel 'Chokher Bali'. The paper then shifts to the filmmaker's attempt at reversing the 'gaze' of popular cinema, and examines how successfully or not so successfully he could address the issue. Is a 'female' or 'queer' gaze at all possible? Is it possible not to subscribe to the patriarchal language of cinema?