Representations of Female Sexuality

Summary/Abstract: Misogyny is defined as an ideological and social system that upholds patriarchal hierarchy through normative control and hostility directed at women. It is most visibly manifested through language and behavior that discipline female sexuality and reproduce traditional values. Pejorative terms such as „whore,” „coquette,” and „slut” function not merely as insults but as instruments of moral condemnation and social exclusion, thereby legitimizing discrimination and various forms of violence against women. This research is motivated by a desire to critically examine how misogyny persists and transforms despite the formal establishment of gender equality. Particular attention is given to the continuities and adaptations of traditional misogynistic narratives in contemporary contexts—especially within intimate relationships and digital communication spheres, where they appear in concealed yet ideologically powerful forms. The analysis focuses on the cultural and religious foundations and historical phases of the development of patriarchal structures that define women’s bodies and sexuality. Two dominant narratives are considered in particular: women as threats to morality, and women as bearers of ideals of chastity and obedience. Through a feminist lens, the study interrogates how these patterns operate within contemporary media and algorithmically shaped digital discourses. The aim of the research is to reveal the mechanisms through which misogynistic discourse survives and adapts, to analyze its impact on women, and to offer a theoretical framework for promoting emancipatory practices and education.

La presente tesi si propone di esplorare il potenziale del videogioco come medium sociale, educativo e di comunicazione per la sensibilizzazione e l'informazione riguardo gli orientamenti sessuali e le identità di genere in rapporto alla comunità LGBTQ+. Attraverso un'analisi dettagliata della struttura del videogioco e delle sue potenzialità educative, si mette in luce la sua capacità di superare i limiti delle tradizionali forme di intrattenimento e rappresentazione per offrire un'esperienza coinvolgente ed emozionale che può favorire un dialogo significativo sulle tematiche LGBTQ+.
Nel primo capitolo, dopo una introduzione alle componenti del videogioco scritta appositamente per chi non è avvezzo al medium, si esplora la sua natura interattiva e la sua capacità di coinvolgere attivamente i giocatori, creando esperienze immersive e stimolanti. Si analizzano inoltre il fenomeno della gamification e i serious games, evidenziando come il videogioco possa andare oltre il semplice intrattenimento e diventare un mezzo educativo efficace per affrontare questioni sociali complesse.
Il secondo capitolo si concentra sulla storia della comunità LGBTQ+ e delle discriminazioni da essa affrontate. Attraverso una panoramica storica, si evidenziano le lotte combattute dalla comunità stessa nel corso del tempo. Si analizzano inoltre le forme di discriminazione presenti nella società contemporanea, sia a livello personale che legislativo, mettendo in luce la necessità di un impegno costante nella lotta contro l'omofobia, la transfobia e tutte quelle forme di pregiudizio basate sull'orientamento sessuale e sull'identità di genere.
Nel terzo capitolo, si approfondiscono tre ricerche statistiche condotte in Italia per comprendere l'attuale contesto sociale e le opinioni da parte della popolazione riguardanti gli orientamenti sessuali e le identità di genere. Queste ricerche evidenziano un crescente pensiero progressista nella società italiana, grazie anche alla maggiore consapevolezza e libertà delle nuove generazioni nel vivere la propria identità sessuale e di genere.
Il quarto capitolo esamina come i media non videoludici, il cinema e la televisione per esempio, abbiano affrontato la rappresentazione delle tematiche queer nel corso del tempo. Si analizza una evoluzione da una fase di censura e demonizzazione a una maggiore diffusione di opere che promuovono la normalizzazione e la rappresentazione autentica della diversità sessuale e di genere. Si sottolinea l'importanza di tali rappresentazioni nella lotta contro lo stereotipo e nella creazione di una maggiore accettazione sociale.
Nel quinto capitolo, si esplora l'evoluzione della rappresentazione dei personaggi e delle tematiche LGBTQ+ nei videogiochi. Si mette in luce come, nel corso degli anni, l'industria videoludica abbia progressivamente migliorato la qualità rappresentativa dei personaggi queer, passando da una presenza marginale e demonizzante a una sempre più inclusiva e autentica. Viene allora coniato il nuovo termine di post-rappresentazione. Si evidenziano, quindi, esempi significativi di videogiochi che trattano con sensibilità e rispetto le esperienze e le sfide della comunità LGBTQ+, passando da titoli AAA come Dragon Age: Inquisition e The Last of Us: Part 2, a opere indie come Coffee Talk o The Red Strings Club.
Nel sesto e ultimo capitolo, si presenta un'indagine empirica svolta con l’ausilio di una semplice avventura grafica (One Night Hot Springs) scelta appositamente per coinvolgere i partecipanti, che hanno poi raccontato la propria esperienza di gioco tramite interviste semi-strutturate, nella narrazione delle esperienze della protagonista, una giovane donna transessuale di nome Haru. Questa esperienza di gioco mira a suscitare empatia e comprensione nei confronti delle sfide affrontate dalla comunità LGBTQ+, consentendo ai giocatori di immergersi nelle emozioni e nelle esperienze dei personaggi.
Infine, si conclude la tesi evidenziando come il videogioco possa rappresentare uno strumento potente per promuovere l'inclusività e la sensibilizzazione all'interno dell'industria videoludica e del videogioco come medium. Si sottolinea la necessità di una scelta consapevole da parte degli sviluppatori nel creare contenuti che rispecchino la diversità nella società e offrano a tutti i giocatori la possibilità di sentirsi accettati e rappresentati. La tesi vuole quindi essere un punto di partenza, uno spunto per ulteriori ricerche sul tema delle rappresentazioni, o post-rappresentazioni, delle minoranze, in un contesto accademico ancora povero di contenuti simili.

This article provides a comprehensive discussion of the late Romanesque baptismal font situated in St. Nicholas Parish Church in Grudziądz. The author offers a thorough analysis of the baptismal font's historical context, stylistic features, and the results of a petrographic examination confirming its Gotlandic origin. The manuscript weaves together art-historical methods, iconographic interpretations, and liturgical-historical references, presenting a compelling argument for reevaluating the date, place of origin, and symbolic program of the font.

This chapter explores the Baroque invention of animated angels -flying baptismal angels -used in the rite of baptism. Flying baptismal angels served as mobile sculptures hung from the ceiling of churches, in the space between the altar and the pulpit. They were carved in wood, often human-sized, painted and gilded. The angels "came to life" during the baptism service by means of a special mechanism located in the attic, descending before the congregation, bearing the font with baptismal water. Baptismal angels had a peak in popularity in the eighteenth century in Protestant areas of Germany and in Scandinavia. The chapter also scrutinizes how and why these animated angels generated fascination and amazement, but also aversion, and sometimes even horror. Thus, during the second half of the 19 th century, they were taken out of use, or removed from church interiors.

This chapter explores the Baroque invention of animated angels-flying baptismal angels-used in the rite of baptism. Flying baptismal angels served as mobile sculptures hung from the ceiling of churches, in the space between the altar and the pulpit. They were carved in wood, often human-sized, painted and gilded. The angels "came to life" during the baptism service by means of a special mechanism located in the attic, descending before the congregation, bearing the font with baptismal water. Baptismal angels had a peak in popularity in the eighteenth century in Protestant areas of Germany and in Scandinavia. The chapter also scrutinizes how and why these animated angels generated fascination and amazement, but also aversion, and sometimes even horror. Thus, during the second half of the 19 th century, they were taken out of use, or removed from church interiors.

Assumptions about space, argues the feminist geographer Doreen Massey, are such an integral part of intellectual and everyday discourse that we are often not conscious of their existence and significance, and yet, they have profound consequences for how society is organised. However, these assumptions are not inherent to our thinking; they are socially constructed, produced and inherited through a number of hegemonic and Eurocentric discourses on space, leading to what Edward Soja and Henri Lefebvre refer to as the "mystification" of space and spatiality. The main aim of this research is to investigate how the literary treatment of space and place shapes the representations of space, place and spatial loss in the writing of ten postcolonial Francophone authors from the Maghreb and Canada from a cross-cultural and cross-generational perspective. It asks whether these authors participate in the "demystification" (in the sense this concept is used by Edward Soja) or the unveiling of the hidden relationship between space and power contained in the Eurocentric discourse on space by creating counter-discourses and strategies that challenge dominant constructions about space, or whether they in fact reinforce this (these) discourse(s) on space despite their presumed postcoloniality. The research presented critically evaluates the concepts and theories of space and place in human geography and applies these to the study of space, place and spatial loss in the postcolonial Francophone texts selected from the viewpoint of three main literary themes (imagination, memory and the border) and the potential that these three themes offer for a "demystification of space". It combines a range of theoretical perspectives and, simultaneously, tests a method of close reading (semiotic analysis) in the analysis of the texts selected and the literary spaces they are seen to belong to in a more systematic way than previously attempted. It sets out to examine how a semiotic reading of the (Western and non-Western) postcolonial Francophone text engages with Massey's and Soja's socio-political understandings and theories on space and spatiality, and what limitations and advantages can be observed through the use of these theories in combination. The research concludes that the postcolonial discourse on space and place in the texts selected is expressed through the values and strategies of ambiguity and ambivalence, not subversion as has been previously suggested. It shows that the themes of imagination, memory and the border play a significant role for the ways in which space and place are conceptualised in those texts, with the theme of the border offering the highest potential for challenging hegemonic assumptions about space. It shows that semiotics can become an effective tool in the unveiling of the values and value systems embedded in the Eurocentric discourse on space, when used in combination with other theoretical approaches. By debating the issue of the "demystification of spatiality" in the literary context, it ultimately raises the larger question of the status and relationship of literariness (or poetics) and political engagement (or politics) of the texts produced within the postcolonial Francophone context. The completion of this thesis was made possible through help and support from a number of people to whom I would like to convey my thanks. First and foremost, I would like to express my deepest gratitude to my supervisor, Professor Debra Kelly, for her continuing encouragement, advice, and patience. Working with her has been truly inspirational; she made the process of research investigation and thesis writing thoroughly enjoyable and unique experiences. I also owe a great deal of thanks to Dr Hélène Gill for support and advice, especially her careful thesis reading in the final stages of writing, and to Marie-Christine Press, for her encouragement and feedback. I am also grateful to my External Advisor, Professsor Lise Gauvin, for her expert knowledge on the Francophone Canadian corpus presented in this thesis, and for enabling me access to the documentary sources of the Centre de recherche interuniversitaire sur la littérature et la culture québécoises, University of Montréal. I am greatly indebted to the School of Social Sciences, Humanities and Languages and the Department for Modern and Applied Languages for awarding me the postgraduate student bursary award and supporting my studies through bursaries for travel to conferences and research visits to Algeria and Québec. Special thanks are also due to Professor Charles Bonn, for his invaluable input, and to La Coordination Internationale de Chercheurs des Littératures du Maghreb, for enabling me to take part in stimulating debates and events. I want to convey my heartfelt gratitude to Professor Celia Lury and to Professor Evelyn Welch, for supporting me all the way through my PhD studies and allowing me to combine my full-time work of European research management

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Este artículo se embarca en un análisis minucioso de los campos léxicos
relacionados con la corporalidad, presentes en las dos novelas
de Bonnett: Después de todo (2001) y Para otros es el cielo (2004),
destacando la manera en que estos elementos lingüísticos influyen en
la construcción de las identidades de género en sus relatos. A través
de un enfoque integrador que fusiona la lingüística con la crítica literaria,
esta investigación pretende ir más allá de la mera identificación
de términos y expresiones relacionados con la corporalidad en la obra
de Bonnett. Busca, en su lugar, desentrañar los complejos entramados
discursivos que moldean las representaciones de género en su narrativa.
Al hacerlo, se propone revelar cómo el uso del lenguaje contribuye
a la formación de identidades de género dentro del contexto literario
contemporáneo. Además, este estudio interdisciplinario no
solo aspira a iluminar la interacción entre el lenguaje y la corporalidad
en la obra de Bonnett, sino también a ofrecer una comprensión
más profunda de cómo estas interacciones influyen en la percepción
y la construcción de la feminidad en la narrativa contemporánea en
general.

Dans cet article, j'aborde trois peintures que Pablo Picasso a réalisées pour sa première exposition à Paris en 1901. Toutes trois représentent des femmes dépendantes, à savoir la buveuse d'absinthe et la morphinomane. Je discute des peintures de morphine en relation avec la peinture de la buveuse d'absinthe afin de soutenir que Picasso a produit ces trois oeuvres en utilisant des coups de pinceau expressionnistes et des couleurs criardes pour 1) expérimenter formellement, 2) aligner les femmes qui consomment des substances addictives avec le travail du sexe, et 3) démontrer sa connaissance des types de femmes transgressives et déviantes qui étaient une source d'anxiété à Paris à la fin du dix-neuvième siècle. Pour étayer cet argument, j'analyse les trois oeuvres par rapport à d'autres représentations de femmes toxicomanes et j'examine comment Picasso, en tant que peintre espagnol nouvellement arrivé dans le monde de l'art parisien, exploite à la fois l'innovation formelle et le sujet de la femme toxicomane pour se démarquer dans un milieu d'artistes étrangers très dense.

T he wide distribution of the Chrismon (or the monogram of Christ) in the monumental art of Spain and the Beam region of the eleventh to the late thirteenth centuries is an interesting phenomenon which has not escaped scholarly notice. Alain Sene, S. H. Caldwell and Constant Lacoste interpret the presentation of the Chrismon in Spain as a symbol of the Trinity, The Passion of Christ and his triumph over death 1 . The study of these works is essential for an understanding of the complex religious significance of the monogram in Spanish Romanesque art. However, I shall attempt to take the inquiry a step further, and to consider why this symbol, one of the most evident in the early Christian era between the fourth and sixth centuries, lost its importance in Christian Europe, where it almost entirely disappeared, yet continued to appear in Spain in all periods with especial frequency from the eleventh to the thirteenth centuries. The Chrismon signifies the Tninity, or, according to a broader interpretation, the Passion, the Victory over Death, and the Resurrrection. These dogmas were sacred for all Christianity, and if their representation were the only cause of the wide occurrence of the symbol in Spanish art, it would be difficult to understand why it disappeared from other Christian countries.

It’s a well-known fact that mass media has a substantial role in today’s world in the sense of disseminating information and cultivating social values and beliefs. Media can also manipulate and shape people’s attitudes and opinions on any subject such as gender roles. As a part of the media, music videos have an active role in disseminating gender roles as well. The main purpose of this paper is to explore gender roles in Turkish music videos. To this end, the music videos on the top 40 list of PowerTürk music channel were analyzed by dividing into 30-second-units. Findings revealed that there were significant differences between men and women in displaying gender roles. And these gender displays reinforced stereotyped gender roles. Women were depicted as sex objects and subordinate. On the other hand, men were displayed as aggressive and dominant. These findings were interpreted as the indicators of that we are still a male-dominant culture

Anita Nair (1966–) is a leading contemporary writer, with a vast oeuvre, writing in varied nuances, expressions, hues, and differences of life, and offering thematic innovation and experimentation in her works. Her works describe the interiority of her characters and their psychological dilemmas even as she challenges social institutions,  especially critiquing women’s role in society. Her debut collection of poetry, Malabar Mind (2002), is a mixture of real and corporeal, landscapes and mindscapes, philosophy
and psychology, love and passion, and the sanity and eccentricities of everyday life. This article attempts to examine Nair’s efforts to re-define and re-negotiate the dynamics of female sexuality in terms of the freedom enjoyed by women. It endeavours to look at the representation of female subjectivity, wherein Nair demonstrates continuing concern with the predicament of women, as well as their evolution towards a feminism
that attempts to question female space, identity, and freedom. This seeks to explore how Nair’s poems address the following questions: Is a woman able to negotiate between her agency and societal norms? How does the patriarchal colonisation of a woman’s body subjugate her, and does she come out of this? Is a woman with economic liberty able to fight stereotyping, or does she forsake her desire and ambition? Thus,
by shedding light on the enduring legacy of male hegemony/patriarchal constructions of womanhood, this academic endeavour aims to make a significant contribution to the discourse surrounding female desire, sexuality, selfhood, and subjectivity. It calls for a profound re-evaluation of hackneyed traditional norms, gender roles, and power relations, advocating for a celebration of femininity and an embracing of individuality/subjectivity in the quest for a more inclusive and equitable society.
Keywords: agency, body, desire, female sexuality, power, subjectivity, woman

This paper explores the role of sex toys in dismantling the stigmatization of women's bodies and sexuality within contemporary society. Historically, women's sexual desires and pleasure have often been subjected to societal taboos and restrictions, contributing to the perpetuation of gender inequalities and the marginalization of women's sexual autonomy. However, the emergence and widespread availability of sex toys have challenged these stigmas and provided women with a means to reclaim agency over their bodies and sexuality. Drawing upon interdisciplinary research and feminist theories, this paper examines the ways in which sex toys have played a transformative role in challenging oppressive norms and fostering positive attitudes towards women's sexuality. By providing women with tools to explore their own pleasure, sex toys offer a means of empowerment, allowing them to break free from societal expectations and reclaim ownership of their bodies and desires. Furthermore, sex toys have been instrumental in promoting sexual education, enhancing communication between partners, and facilitating discussions on consent, pleasure, and body positivity. The findings of this paper underscore the importance of recognizing sex toys as tools of empowerment and liberation, contributing to the broader movement towards sexual liberation, gender equality, and the acceptance of diverse sexual expressions. By breaking down stigmatization and facilitating open discussions about women's bodies and sexuality, sex toys serve as catalysts for positive social change and contribute to a more inclusive and equitable society.

Este artículo, centrado en las estrategias de control de la prostitución y los conflictos que generó la política reglamentista entre vecinos, autoridades y prostitutas, aspira a contribuir al campo de investigación de la sexualidad y la Historia urbana en Logroño, una ciudad en la que aspectos como la reglamentación de la prostitución y la expulsión de mancebías del centro de la ciudad no han sido apenas tratados. A partir del estudio de la normativa municipal-entre otras fuentes primarias de carácter municipal-y de fuentes hemerográficas se ha analizado el verdadero alcance del sistema reglamentista, así como las tensiones que esta actividad generó entre los vecinos. Las fuentes muestran dos modelos de ciudad, por un lado, el espacio moderno ambicionado por la burguesía, en el que los grupos marginales no tenían cabida y por otro, los barrios degradados en los que, a pesar de las quejas de los vecinos, se situó el comercio sexual, aspecto trabajado mediante cartografía digital a partir de los planos de Luis Barrón y Gabriel Vizmanos.

Dans cet article nous allons nous intéresser à l’Amour fou pour reprendre le titre de la trilogie d’André Breton qui, pour clore Nadja (1928), nous livre ce message qui nous a tant inspiré : « La beauté sera CONVULSIVE ou ne sera pas »38. Nous nous sommes intéressé donc à la beauté de
l’amour qui s’installe en soi et dans l’Autre non pas lentement, non pas forcément sur le long terme, non pas rationnellement, mais cette beauté de l’amour qui dépasse les limites de la raison (la raison de qui ?) et qui nous frappe tel un coup de foudre, qui nous ébranle et qui nous fait tomber amoureux. C’est au stade de la passion amoureuse, en dialogue avec l’irrationnel, que nous situons les histoires d’amour que nous allons présenter. Ce sont des histoires d’un amour fou montré à la télévision publique espagnole (TVE) qui ont comme élément fédérateur l’histoire car, dès les origines de la TVE, les producteurs de séries télévisées ont fait le pari de s’approprier l’Histoire par le biais de représentations diachroniques ou bien anachroniques de la réalité d’une époque. Ces séries participent de la confusion des genres décrite par Isabelle Veyrat-Masson39 et la rigueur historique n’est pas un frein à la richesse fictionnelle. Pourtant, cette industrie de l’Histoire télévisée s’oppose au goût prononcé des
téléspectateurs espagnols pour les séries dramedias et autres séries fantastiques ou policières, produits de la standardisation culturelle mondialisée, qui sont le choix des chaînes privées espagnoles. Nous
montrerons dans cet article comment s’est construit le récit historique et amoureux des origines de la TVE à nos jours en prenant quelques exemples qui nous ont semblé importants à la fois pour leur
thématique historique-amoureuse et pour l’originalité de leur format télévisé. Certes, tout autre téléspectateur aurait pu choisir des exemples différents de ceux de cet article car la liste de séries émises sur la chaîne publique est très longue.

Sociolingvističko istraživanje komparativnoga tipa vođeno je s ciljem ispitivanja dijalekta kao posebnosti u integrativnim procesima. Provedeno je empirijsko istraživanje primjenom upitnika sa strukturalnim obilježjima i skalama učestalosti uporabe dijalektalnih leksema u svakodnevnom govoru u Trogiru (Hrvatska) i Coneglianu (Italija). Klasificirani i analizirani rezultati pokazuju neznatno jače izraženu uporabu dijalektalnih leksema u Trogiru. Ključne riječi : sociolingvističko istraživanje, komparativna metoda, dijalekt, leksem, skala učestalosti UVOD U suvremenim procesima globalizacije i integracije sve je manji broj jezika koji sudjeluju u komunikaciji i razviJaJu različite interakcijske društvene oblike. Svakodnevno odumiru tzv. mali jezici. Na svjetskom lingvističkom atlasu, posebice na prostoru Europe, gube se regionalne varijante i iščezavaju dijalekti. Razlozi su uglavnom izvanlingvističke prirode jer zbog niza interakcija brojne društvene pojave i procesi utječu na lingvi

The purpose of this paper is to examine how the signing of the cross is to be made, the origin and development of it, its uses-which tend to overlap with its origin/development, and a contemporary sociological significance of it. One of the most ancient symbols known to humanity is the cross. It has been part of both ancient and modern cultures. The symbol of the cross can be traced back to records of early humanity where it was carved in stone, metal, shells, pottery and an assortment of other types of material.

This article examines the recent 2014 South Korean sex comedy Casa Amor: Exclusive for Ladies, in an attempt to contextualize representations of female sexuality within the socio-geographic discourse. At the same time, it aims to demonstrate the ways in which ideals of the third wave feminist thought are employed in order to first seemingly promote, but ultimately trivialize and discount the experience of female sexuality. Despite South Korea's status as a technologically fast developing state, societal topics of gender and sexuality continue to be sensitive and difficult to portray in the media. This article brings to the readers' attention the Neo-Confucian roots of this patriarchal legacy, as well as its current situation in the context of cultural and legislative taboos that are sex and pornography. In the latter part, the essay focuses on the analyses of on-screen femininity presented in Casa Amor, employing feminist concepts such as 'girlfriend culture' and 'womance'. It also provides a comparative reading of the Korean feature to its original predecessor, Brazilian De Pernas Pro Ar, emphasizing the former's transnational values and critiquing its failure to reclaim 'the women's gaze'.

Is it Percival? No; it is not Percival.' There is a morbid pleasure in saying: 'No, it is not Percival.' I have seen the door open and shut twenty times already; each time the suspense sharpens. This is the place to which he is coming. This is the table at which he will sit. Here, incredible as it seems, will be his actual body. This table, these chairs, this metal vase with its three red flowers are about to undergo an extraordinary transformation.

Sociolingvističko istraživanje komparativnoga tipa vođeno je s ciljem ispitivanja dijalekta kao posebnosti u integrativnim procesima. Provedeno je empirijsko istraživanje primjenom upitnika sa strukturalnim obilježjima i skalama učestalosti uporabe dijalektalnih leksema u svakodnevnom govoru u Trogiru (Hrvatska) i Coneglianu (Italija). Klasificirani i analizirani rezultati pokazuju neznatno jače izraženu uporabu dijalektalnih leksema u Trogiru. Ključne riječi : sociolingvističko istraživanje, komparativna metoda, dijalekt, leksem, skala učestalosti UVOD U suvremenim procesima globalizacije i integracije sve je manji broj jezika koji sudjeluju u komunikaciji i razviJaJu različite interakcijske društvene oblike. Svakodnevno odumiru tzv. mali jezici. Na svjetskom lingvističkom atlasu, posebice na prostoru Europe, gube se regionalne varijante i iščezavaju dijalekti. Razlozi su uglavnom izvanlingvističke prirode jer zbog niza interakcija brojne društvene pojave i procesi utječu na lingvi

Entendez vous dans les montagnes… MAÏSSA BEY ix bitter part made the sweet ones even sweeter. You also understood how and why I was translating Bey. Thank you for understanding my family, and especially for coming back. Lastly, to my father, David Lamm. Dad, thank you for supporting my choice to work on this book and for telling me how important all of the stories we heard at French back entrances, where the Algerian War came up for discussion, are. Thank you also for giving me the books to read and for always encouraging me to write and use my French whenever possible. Dad, as far as I'm concerned, this book is mostly for you. And yes, my love also goes to Mom, Kristin, Dan, Mellissa, and Mike. Now, shall we see what happens when fathers give books to their daughters… x A TRANSLATED CRITICAL EDITION OF MAÏSSA BEY'S: ENTENDEZ-VOUS DANS LES MONTAGNES… (2002) (Order No.

The body has been scrutinized in various researches as a representation device capable of revealing certain states of existence of the person in his different aspects of life. It has been the subject of sociological, philosophical, biological, anthropological or psychological studies. Certain subjects such as illness, passion, pleasure and suffering, metamorphoses, identity or social taboos have been studied in their relationship to the body and have allowed a deeper knowledge of the individual, the "self " and personal identity. Hervé Guibert follows in his work a project of self-unveiling that is realized in a hybrid field of image and text; especially when he falls ill and tells the story of a suffering body. A recurring theme in his work is the body, through which he tries to show what constitutes his identity, the deconstruction and finally the reconstruction of this identity through the prism of illness. Guibert observes himself from the outside look through the mirror or through the camera. Therefore, through the image of the body, he constructs the distinct levels of his self-narrative. Furthermore, writing thus becomes a way of survival for the author, a way of reconstructing a new identity.

This thesis examines the complex and conflicting arguments surrounding'the crime of rape in Early Modern England and how the important literary texts, Sir Philip Sidney's Arcadias, explore this issue of rape. Of the three Arcadia texts that exist today, the 1580 Arcadia, also known as the Old Arcadia, has received the most ACKNOWLE DGEMENT S I would first like to express my deep gratitude to Renee Pigeon, my primary reader and mentor. She has provided me with much needed encouragement and support, for which I will always be indebted to her. I would also like to acknowledge Bruce Golden and Jackie Rhodes, both of whom encouraged my interest in a relatively recent area of scholarship. In addition, I would like to extend my love and appreciation to my devoted husband, children, and parents, without whom I could not have written this thesis. v

Acercarse a la novela libertina francesa implica forzosamente revisar los diferentes matices que adquiere el término "libertin" a lo largo de los siglos XVI, XVII Y XVIII. Durante el siglo XVI aparece la voz "libertisme", bañada de una carga despectiva. Este vocablo es utilizado por primera vez por Calvino para designar a los disidentes anabaptistas, provenientes de un grupo protestante de la región de Flandes, considerados como enemigos comunes de los católicos y protestantes. Jean-Claude Margolin, en su artículo "Libertins, Iibertinisme et 'libertinage' au XVIe siecIe", advierte que los términos empleados por Calvino conllevan juicios de valor porque, para este partidario de la reforma de la Iglesia, los libertinos sólo eran "des extravagants, des hommes qui ont perdu le sen s commun, des insensés, des fous, mais des fous dangereux pour eux-memes et pour les autres. II [fallait] donc les combattre, car leur secte [était] pernicieuse".' Cinco años después de la publicación del tratado de Calvino, intitulado Contre la secte phantastique et furieuse des Iibertins qui se nomment spirituelz, Guillaume Farel, en 1550, retoma algunas de las críticas enunciadas anteriormente por el reformador suizo y ataca la postura religiosa de los anabaptistas, acusándolos de haber inventado "une belle doctrine pour putains et ruffians".2 El sentido del término comienza a ampliarse y se convierte en sinónimo de heterodoxo, materialista, ateo o todo vocablo que sirva para designar a los partidarios de la construcción del pensamiento arreligioso y antirreligioso. Finalmente, en el transcurso de los últimos cin-I Jean-Claude MARGOLIN, "Libertins, libertinisme et 'Iibertinage' au xVle siécle", en Aspects du Iibertinisme au XV/e siec/e, p. 5. Trad.: "Unos extravagantes, hombres que han perdido el sentido común, insensatos, locos, pero locos peligrosos para si mismos y para otros. Entonces [era] necesario combatirlos, porque su secta [era] perniciosa". 2 Apud. Estudio preliminar de Les romans Iibertins du XVllle siec/e de Raymond TROUSSON, p. 11. Trad.: "Una bella doctrina para putas y rufianes".

This article seeks to place the Féminin/Féminin web series (Chloé Robichaud, 2014 and 2018) within the Quebec media ecosystem and to think, through this case study, of the potential of the web as a platform for the dissemination of queer serial fiction written, directed, and produced by women in Quebec. This study examines more specifically the formal and discursive implications in Robichaud’s work between a first season that was produced for the independent community website Lez Spread the Word (LSTW) and a second season that was broadcast on the largest digital broadcasting platform in Quebec – Tou.tv. The visibility of a multiplicity of queer subjectivities certainly made history in Quebec television. However, by paying particular attention to the production budgets of seasons 1 and 2 as well as to their distribution space and by carrying out a comparative analysis of the narrative structures and images of lesbian characters in seasons 1 and 2 through the lens of the Queer Art of...

Tema je našega rada položaj zamjeničkoga pridjeva sam uz naglašeni oblik povratne zamjenice (sebe) unutar konstrukcija s pravim povratnim glagolima. U tim konstrukcijama zamjenički pridjev sam može biti u akuzativu ili u nominativu (hvalim sam sebe / hvalim samog sebe). Poznato je svojstvo zamjeničkoga pridjeva sam da u pojačajnome značenju najčešće slijedi iza lične zamjenice, ali prethodi imenicama (On sam to radi. / Sama Marija to radi.). Cilj je ovoga istraživanja utvrditi koji mu je neobilježeni položaj uz povratnu zamjenicu te ponaša li se drukčije s obzirom na red riječ kad je u nominativnome ili u akuzativnome obliku.

Nema sumnje da se komparatistika davno oslobodila prvobitnog proučavanja odnosa između pojedinačnih nacionalnih književnosti posredstvom izvora i uticaja i da je, prekoračivši granice između jezika, kultura i disciplina, između književnosti, umjetnosti, politike i javnog života, krenula putem kulturoloških studija. Njen predmet je ostalo, dakako, naporedno proučavanje jezika i književnosti, ali u transnacionalnom, interkulturalnom i intermedijskom kontekstu. Riječ je o internacionalnoj recepciji autora i njihovih djela, o vrstama poigravanja posredstvom intertekstualnosti, o preispitivanju konvencija književnih oblika i rodova na transkulturnom planu, te o utvrđivanju promjenljivih veza između različitih umjetničkih i kulturnih sistema znakova (književnost i slikarstvo, odnosno film, muzika). Komparatistika u novom ključu, kako je krajem osamdsetih godina 20. vijeka predvidio Zoran Konstantinovid, a početkom 21. vijeka potvrdio Džonatan Kaler, i dalje vodi glavnu riječ u najaktuelnijim metodološkim i teorijskim polemikama u svim humanističkim disciplinama, ali u kontekstu toliko proširenom da joj danas često pripisuju ulogu "kulturne poetike". Zbog svega prethodno rečenog odlučili smo se na tematski broj Komparatistika u novom ključu okupivši zanimljive teme i autore koji bi sa stanovišta savremenog trenutka osvijetlili transformacije ove discipline na putu objedinjavanja traganja za istorijskim uslovljenostima u literaturi i zapažanja vanistorijskih estetskih vrijednosti. Tako u radu Hipertekstualnost kao komparitivistički problem Branko Tošovid na primjeru tekstova srpskih, ruskih i poljskih autora, razmatra fenomen hiperteksta, njegove karakteristike, strukturu, osnovne modele i funkcije, ističudi i poseban način na koji se u različitim nacionalnim sredinama preispituju konvencije književnog stvaralaštva i unose nove dimenzije poput interaktivnosti, intermedijalnosti i hibridnosti. Miodrag Loma u Koncepciji istorije svetske književnosti kod Ervina Latsa razmatra pretpostavke Latsovog književnoistoriografskog pristupa, shvatanje žanrovskog uticaja i ranga, kao i ključne književnoistorijske i kritičke pojmove čuvenog naučnika u čijim se pojedinim segmentima mogu prepoznati i uticaji Getea i Šilera. U radu Kultura kao intertekst-napomene uz problem recepcije semantičkih modela Siniša Jelušid u okviru termina intertekst, prototekst i metatekst promišlja značenja odnosa između vizantijske kulture i slovenskih kultura u kojima se razlikuje odnos transplantacije i odnos recepcije. Takođe, autor teži da odredi bazične atribute južnoslovenskog kulturnog, tj. književnog

Nema sumnje da se komparatistika davno oslobodila prvobitnog proučavanja odnosa između pojedinačnih nacionalnih književnosti posredstvom izvora i uticaja i da je, prekoračivši granice između jezika, kultura i disciplina, između književnosti, umjetnosti, politike i javnog života, krenula putem kulturoloških studija. Njen predmet je ostalo, dakako, naporedno proučavanje jezika i književnosti, ali u transnacionalnom, interkulturalnom i intermedijskom kontekstu. Riječ je o internacionalnoj recepciji autora i njihovih djela, o vrstama poigravanja posredstvom intertekstualnosti, o preispitivanju konvencija književnih oblika i rodova na transkulturnom planu, te o utvrđivanju promjenljivih veza između različitih umjetničkih i kulturnih sistema znakova (književnost i slikarstvo, odnosno film, muzika). Komparatistika u novom ključu, kako je krajem osamdsetih godina 20. vijeka predvidio Zoran Konstantinovid, a početkom 21. vijeka potvrdio Džonatan Kaler, i dalje vodi glavnu riječ u najaktuelnijim metodološkim i teorijskim polemikama u svim humanističkim disciplinama, ali u kontekstu toliko proširenom da joj danas često pripisuju ulogu "kulturne poetike". Zbog svega prethodno rečenog odlučili smo se na tematski broj Komparatistika u novom ključu okupivši zanimljive teme i autore koji bi sa stanovišta savremenog trenutka osvijetlili transformacije ove discipline na putu objedinjavanja traganja za istorijskim uslovljenostima u literaturi i zapažanja vanistorijskih estetskih vrijednosti. Tako u radu Hipertekstualnost kao komparitivistički problem Branko Tošovid na primjeru tekstova srpskih, ruskih i poljskih autora, razmatra fenomen hiperteksta, njegove karakteristike, strukturu, osnovne modele i funkcije, ističudi i poseban način na koji se u različitim nacionalnim sredinama preispituju konvencije književnog stvaralaštva i unose nove dimenzije poput interaktivnosti, intermedijalnosti i hibridnosti. Miodrag Loma u Koncepciji istorije svetske književnosti kod Ervina Latsa razmatra pretpostavke Latsovog književnoistoriografskog pristupa, shvatanje žanrovskog uticaja i ranga, kao i ključne književnoistorijske i kritičke pojmove čuvenog naučnika u čijim se pojedinim segmentima mogu prepoznati i uticaji Getea i Šilera. U radu Kultura kao intertekst-napomene uz problem recepcije semantičkih modela Siniša Jelušid u okviru termina intertekst, prototekst i metatekst promišlja značenja odnosa između vizantijske kulture i slovenskih kultura u kojima se razlikuje odnos transplantacije i odnos recepcije. Takođe, autor teži da odredi bazične atribute južnoslovenskog kulturnog, tj. književnog

This article examines the recent 2014 South Korean sex comedy Casa Amor: Exclusive for Ladies, in an attempt to contextualize representations of female sexuality within the socio-geographic discourse. At the same time, it aims to demonstrate the ways in which ideals of the third wave feminist thought are employed in order to first seemingly promote, but ultimately trivialize and discount the experience of female sexuality. Despite South Korea's status as a technologically fast developing state, societal topics of gender and sexuality continue to be sensitive and difficult to portray in the media. This article brings to the readers' attention the Neo-Confucian roots of this patriarchal legacy, as well as its current situation in the context of cultural and legislative taboos that are sex and pornography. In the latter part, the essay focuses on the analyses of on-screen femininity presented in Casa Amor, employing feminist concepts such as 'girlfriend culture' and 'womance'. It also provides a comparative reading of the Korean feature to its original predecessor, Brazilian De Pernas Pro Ar, emphasizing the former's transnational values and critiquing its failure to reclaim 'the women's gaze'.

Term Croatian is considered in Russian context, i. e. context of Russian scientific material (which is comparable to the unwritten situation in universities). Russian scientific texts connect term Croatian, almost without an exception, with the term Serbian in words such as Serbo-Croatian. This point of view is politically approved in the period untill 1990's, but it exists in the 21st century's scientific material. The nature of the problem lays, at the same time, in politics, language and society; thus, the question is: what is the reason of such a context in which Croatian language is placed now? There are no arguments for it, especially if it is for Slovak language politically based and language approved to be an entity – in comparison to the Czech language; for Ukrainian (once Littlerussian) – at least in principle, in comparison to the Russian, or, more convincable, Belorussian to Russian (the standard Belorussian language exists from 1905). The term Croatian is indepe...

Abstract
The decreasing female child sex ratio in contemporary India is often linked to the small family norm. However, the decline of sex ratio has raised interesting questions regarding women’s involvement in decision making in the context of female-foeticide and managing family size. Are women victims or actors while making their reproductive choices? What are their reproductive interests, and how do they achieve them? This study investigates how urban-middle class women from Delhi and Haryana make reproductive decisions in regards to family formation in modern urban neoliberal society. Motherhood, abortions, and gender relations are discussed with reference to the main themes of son-preference, increasing social status of daughters, family planning, family building strategies, reproductive health and well-being.
Further, because of the prevalence of son-preference it is crucial to understand what kind of status daughters are accorded in contemporary urban Indian society. This study addresses this by looking at participants’ differing perceptions and expectations for their daughters and sons, and in particular how daughters are treated. The status of daughters is documented through an examination of current forms of gender discrimination against them, and also the different kinds of opportunities that they are provided by their parents.
These issues are explored through a qualitative study of the reproductive decision making of 45 educated married urban middle-class mothers from Delhi and Yaumuna Nagar (region of Haryana), India. Snowballing was used to recruit participants, and the fieldwork was carried out during two visits to India. I chose Delhi and Haryana because both of these regions have collective and patriarchal family structures. For instance, in these regions joint families are quite common among the middle-class and fathers or a male family member are often the head of the family. Furthermore, Delhi and Haryana have a low female child sex ratio, as recorded in the 2011 census, but have shown slight improvement in comparison to 2001 figures. Therefore, this study will provide insights into how women practice their reproductive agency in highly collective and patriarchal settings of their affinal families. These families are in the process of rapid socio-cultural changes, including change in gender roles and opportunities for daughters. I will examine women’s decision making process, including practices of negotiating and resistance strategies they develop.
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I will then discuss how women engage with different forms of modern, spiritual and traditional technologies in order to maintain their reproductive health and well-being, and how they attempt to give birth to a son while maintaining the norm of small family size. This will suggest that society and technology are mutually constitutive. Finally, I will explore how social transformation has influenced the gender relationships which are discussed in relation to daughters’ improving status and also the different forms of discrimination currently used against them. However, throughout the research the patriarchal nature of urban neoliberal Indian society and the idea that a man is needed to support a woman and for her protection has been highlighted.

This article aims to present the work of Guillaume Dustan (1965-2005) as exemplary of a contemporary tendency in French queer writing, a double-faced tendency towards autobiographical writing, on the one hand, and on the other, towards the frank recording of lives consumed by sexual compulsion. My reading of Dustan's ethically and aesthetically challenging texts is influenced by a psychoanalytic understanding of sexual compulsion as stemming from the dictates of the drive, and this informs my presentation of Dustan's 'autofiction' in the first part of the article. In the second part I extend my remarks to Dustan's little-understood pronouncements and provocations concerning a form of sexual politics that finds its basis, perhaps even its 'inspiration', in the dictates of the drive, as well as examining the explosive writerly style that Dustan adopts, which I see as a 'writing of the drive'.

was a liturgical scholar, who kept his scholarly endeavors primarily on Liturgy. His approach to the study of liturgy was influenced by Josef Stzygowski, an art historian and professor, at the University of Vienna who used comparative method to solve a problem he discerned in the art of the Near East. 1 For Baumstark, comparative liturgy is an empirical science, 2 something that is experienced, felt, and seen by people. It is based on historical facts and that those

Many Christian intellectuals, and ecclesiastical writers, clung from the beginning more on the Greek philosophical ideas than on the biblical view of sexuality. By Philo of Alexandria 1 , Platonism was introduced in the school of Alexandria and it also affected Origen, which in turn had an impact on a large part of Christendom. How ascetic rigor can become a drama was shown in the case of the latter, who was self-castrated, although the fact that Paul's advice was the following "those who cannot remain abstinent, let's get married. It is better to get married with someone than to be burnt from desire". 2 To excessive ascetic rigor, of montanistic shades, moved and Origen's contemporary, Tertullian, who also brought a tremendous impact on western Christianity. During this period in the Church develops a struggle between two fronts. On one hand an ascetic spirit that rejects sexuality and on the other liberality, supported by the Gnostics, 3 who teach that the spiritual man is above the common laws and that he can never sin, whatever he though does. Faced with this vision come those 1 AMBROSE OF MILAN, De Paradiso 2, 11: "namque ante nos fuit qui (means Philo of Alexandria, De opificio mundi 59, 165-166) per uoluptatem et sensum praeuaricationem ab homine memorauerit esse commissam, in specie serpentis figuram accipiens delectationis, in figura mulieris sen-sum…" 2 1 Cor 7, 9.

Speakers and singers in Philip Sidney's The Countess of Pembroke's Arcadia are constantly losing control of their own voices: poems and songs are interrupted by sobs and sighs, and words, as volatile physical sounds, manage to escape the confines of their intended acoustic environment, becoming subject to overhearing and repetition. Recent scholarship on the voice in early modern literature has tended to emphasize the threat that the unstable medium of embodied vocal sound might pose to masculinity or, more broadly, to the logocentric, patriarchal order. However, in the case of Sidney's Arcadia, the alienability of the voice is often precisely what endows it with oratorical power and what enables it to become a site for the performance of elite, homosocial intimacy. Focusing on Cleophila's sonnet in book 1 of the Old Arcadia (the first sung poem in Sidney's romance), I examine how representations of vocal estrangement mediate larger issues and anxieties concerning poetic circulation. I argue that within the imagined community of coterie publication, the failure of a speaker to maintain strict control of his utterance does not threaten but, rather, signals and affirms the system of elite poetic exchange as a site for the meaningful performance of (male) social belonging. This managed loss of voice, I maintain, stands in marked contrast to what the alienated voice comes to mean once Sidney's texts travel beyond their originally intended audiences, and so the article concludes by looking at how non-elite readers might have encountered Cleophila's sonnet in the version that appeared in print.

Scary Stories for Baby, Perfect Stranger and Me' is an entirely new essay. I am grateful to the original publishers and editors of the essays published previously for permission to reproduce modified, extended and translated versions of the works. Images are numbered following the principle of giving chapter number and image number separated by a full stop. Thus the fourth image in chapter 1 is 1.4. For these purposes the Prologue is noted as chapter 0 and the Epilogue as chapter 8. All translations from Portuguese literary works, including poetry, critical texts and interviews are my own. I am very grateful to Paula Rego for giving me permission to reproduce her images and above all for creating them. Erin Sleeper, Celia Duque Espiau and Mary Miller at Marlborough Fine Art were endlessly patient with my disorganization in keeping track of the digital images with which they kindly provided me. I thank them and apologize. I am more than grateful to Alessandra Tosi, my publisher (for the second time), for her patience and kindness, and Lucy Barnes (in honour of steel snowflakes). I am also very grateful for research grants from St. John's College, Cambridge, and from the University of Cambridge, which made this book possible. In projecting their anger and disease into dreadful figures, creating dark doubles for themselves and their heroines, women [artists] are both identifying with and revising the self-definitions patriarchal culture has imposed on them.

Planina nesporazuma između Ive Andrića i svijeta u kojem je živio raste i uvećava se zato što klasiku svjetske književnosti i dobitniku Nobelove nagrade za književnost stalno izvlače Tita, Hitlera, Mladu Bosnu-kaže pisac Josip Mlakić; tome bi se mogla pridodati trućanja o Andrićevom porijeklu, ljubavnim nepodopštinama, masoneriji, citate rečenica koje nije napisao... Epska snaga kojom je oblikovao motive i sudbine iz istorije svoje zemlje sveudilj privlači čitalačku pažnju; pogledajmo neke biblografske podatke: 2016. godine odobrena su prava za više od 60 izdanja djela Ive Andrića-na turskom, bugarskom, rumunskom, španskom, engleskom, japanskom, korejskom, italijanskom, esperantu, slovenačkom jeziku. Od 2000. godine Na Drini ćuprija je na turskom jeziku doživjela čak 24 izdanja, a u toku su pregovori za objavljivanje Andrićevih knjiga u Kazahstanu, Gruziji i Bengalu. Romani objavljeni u jednoj knjizi doživjeli su 12 izdanja u 40.000 primjeraka, a sabrane priče pet izdanja u 15.000 primjeraka. Nedavno je izašla i knjiga proze Pored puta, čije je prvo izdanje štampano čak u 20.000 primjeraka. Knjige o Andrićevoj književnosti i životu pisca, feljtoni, polemike, rasprave, članci, doktorske disertacije, televizijske i radijske reportaže, dokumentarni i igrani filmovi, radijske, pozorišne i filmske adaptacije djela Ive Andrića kontinuirano se produciraju. Zašto je danas Andrić aktuelan pisacmožemo naslutiti u ovom zapisu pjesnika Marka Tomaša: "Vratio sam se čitanju Krležine literature posljednjih par godina i to me prenerazilo. Sve o čemu je pisao i danas je oko nas. Isti ljudi u istim situacijama. Isto je i s Andrićem. Kao što vam, na primjer, mogu prstom pokazati svakog lika iz 'Travničke hronike' tako su oko nas i likovi iz Krležinih knjiga. I jedan i drugi su kanonizirani, a sudeći po situaciji u kojoj živimo nitko

Na osnovu sire procjene dubrovackoga idioma u drugoj polovici 20. stoljeca u ovom radu detaljnije je obrađena ucestalost uporabe nekih glagola i ocuvanost njihove znacenjske raznolikosti u danasnjem kolokvijalnom izricaju. Nastavljajuci analizirati rezultate istraživanja provedenog 2004. godine koje je pokazalo kako se neki segmenti kolokvijalnog izricaja gube i nepovratno nestaju, dok su drugi ocuvani i svakodnevno prisutni, posebnu pozornost posvetila sam skupinama glagola koji svojom viseznacnoscu određuju specificnost dubrovackoga poddijalekta. Uz konstataciju da ucestalost uporabe nekih promatranih glagola opada, možemo reci da su oni uglavnom ocuvali svoju znacenjsku raznolikost ali i da su neki poprimili nova, ubrzanom životnom tempu primjerenija znacenja.

This research aimed to determine how the representation of women in the poster of the comedy film Warkop DKI (Dono, Kasino, Indro) in 1980-1989 from a woman point of view. The involvement of women as models in the film poster media was not yet clear in terms of their roles; however, women could be used more as commodities of capitalism to reap profits. In the patriarchal rule, men were assumed to be created as culture-making in the other women were subordinated. This research used descriptive qualitative research methods by collecting data using documentation techniques. The collected data was reducted, presented, and concluded. Roland Barthes’ semiotic theory was used to analyze poster design elements that contained the exploitation of the female body. The research results find that (1) women in the film poster media are only subordinated to the poster to attract men, potential viewers. (2) Film posters show sexual exploitation and eroticism that is made into a high-selling and qui...