tag:blogger.com,1999:blog-49690799353039776612024-02-19T00:43:18.960-08:00Light Reflection Over Blues Avital Gad-Cykman's blogAvital Gad-Cykmanhttp://www.blogger.com/profile/16462533584127117221noreply@blogger.comBlogger22125tag:blogger.com,1999:blog-4969079935303977661.post-54784585394816540612022-09-14T07:29:00.005-07:002022-09-14T07:31:06.780-07:00"Education" and "Rivers" are up at the fabulous magazine Barzakh<p> Ah, there's more! </p><p>Two flashes, "Education" and "Rivers" are up at the fabulous magazine Barzakh Vol. summer-2022<br /></p><p> <a href="https://www.barzakhmag.net/summer-2022-in-nature-prose-2/2022/7/14/avital-gad-cykman" target="_blank">https://www.barzakhmag.net/summer-2022-in-nature-prose-2/2022/7/14/avital-gad-cykman</a><br /></p>Avital Gad-Cykmanhttp://www.blogger.com/profile/16462533584127117221noreply@blogger.com0tag:blogger.com,1999:blog-4969079935303977661.post-69545048992237291052022-09-14T07:25:00.003-07:002022-09-14T07:32:52.085-07:00"The Twist" is up at Spire Light and "Teacups in a Cupboard" has been published in Spectrum vol. 65.<p> </p><p> Hello from the Brazilian crazy spring time!<br /></p><p> </p><p> The story "The Twist" is up at Spire Light, a magazine out of Andrew College. </p><p><a href="https://www.andrewcollege.edu/wp-content/uploads/2022/05/Spire-Light-Journal-2022.pdf" target="_blank">https://www.andrewcollege.edu/wp-content/uploads/2022/05/Spire-Light-Journal-2022.pdf</a><br /></p><p>The flash <span id="m_3382506869391934427gmail-docs-internal-guid-7cc0a547-7fff-16ba-a4c1-164a64efc993"><span style="background-color: transparent; color: black; font-family: "Times New Roman"; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">"Teacups in a Cupboard" has been published in </span><span style="background-color: transparent; color: black; font-family: "Times New Roman"; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Spectrum</span><span style="background-color: transparent; color: black; font-family: "Times New Roman"; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> vol. 65.</span></span></p><p><span id="m_3382506869391934427gmail-docs-internal-guid-7cc0a547-7fff-16ba-a4c1-164a64efc993"><span style="background-color: transparent; color: black; font-family: "Times New Roman"; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Since it is not online yet, here is the flash:</span></span></p><p><span id="m_3382506869391934427gmail-docs-internal-guid-7cc0a547-7fff-16ba-a4c1-164a64efc993"><span style="background-color: transparent; color: black; font-family: "Times New Roman"; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></span><!--[if gte mso 9]><xml>
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</p><p style="line-height: 200%; margin-bottom: 0in;">Teacups in a Cupboard</p>
<p style="line-height: 200%; margin-bottom: 0in;">I’m taking with me the minimum
necessary. The hyena who’s had me bite by bite, can finally feast on organs fed
by hopes and expectations. I won’t need hope where the future is a glow of
sunset. I’m stripping down to my bones, where memories are mapped.</p>
<p style="line-height: 200%; margin-bottom: 0in;">A desert town, where dunes
surrender to my bare feet, and a mum and a dad, mine only, raise a white house
with a red tiled roof and plant struggling fruit trees. Wildflowers and
eighteen-year-old boys are cherished here, and in danger of extinction.</p>
<p style="line-height: 200%; margin-bottom: 0in;">Sea sand weighs down my bathing
suit every Saturday morning, and the remained sand that isn’t swept by the sea
waves pours down into the wet floor of the shower. Children grow free in
nature. But in ceremonies, we stand, ordered by size, like teacups in a
cupboard.</p>
<p style="line-height: 200%; margin-bottom: 0in;">In the desert town, Samson gave
his life to save others, but the bible telling it enters home only by the
school request. The book of Genesis is wrapped with a blue cotton, and sewn
letters sparkle like gems. Saturday’s candles are never lighted, only memorial
ones. </p>
<p style="line-height: 200%; margin-bottom: 0in;">At seventeen, the hyena goes for
my heart. The heart, swollen from a tsunami of death, steels its walls, blocks
its valves and throws itself at the hyena’s paws. The hyena’s fingernail makes
a fine scratch, but the teeth meet an uncrackable cold surface.</p>
<p style="line-height: 200%; margin-bottom: 0in;">Now, the hyena can feast on a
heart that's mellowed from loving and lovers, tired kidneys, heaving lungs and
a slightly embittered pancreas. The desert town is carved in sand and bone, and
I need no binoculars to see the horizon, my home. </p>
<p style="line-height: 200%; margin-bottom: 0in;"> </p>
<p></p><p><span id="m_3382506869391934427gmail-docs-internal-guid-7cc0a547-7fff-16ba-a4c1-164a64efc993"><span style="background-color: transparent; color: black; font-family: "Times New Roman"; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></span></p>Avital Gad-Cykmanhttp://www.blogger.com/profile/16462533584127117221noreply@blogger.com0tag:blogger.com,1999:blog-4969079935303977661.post-57941089056557421292022-03-22T11:45:00.003-07:002022-03-22T11:45:35.539-07:00The flash "Grace" in Matter Press <p><a href="http://matterpress.com/journal/2022/03/21/grace/?fbclid=IwAR3vlytFTf65csRpLhyPGeOHT3EjOZ12mrXSK2f_9dZBYIlUmzhXrMiuUfc">The flash "Grace" is up at the wonderful Matter Press</a></p><p>Where is the future? Where is Leonard Cohen? <br /></p>Avital Gad-Cykmanhttp://www.blogger.com/profile/16462533584127117221noreply@blogger.com0tag:blogger.com,1999:blog-4969079935303977661.post-2432169497915659162022-03-08T08:48:00.000-08:002022-03-08T08:48:22.003-08:00The Jewish Year - Litbreak Magazine is featuring my flash<p><a href="https://litbreak.com/the-jewish-year/">Have fun with The Jewish Year.</a><br /></p>Avital Gad-Cykmanhttp://www.blogger.com/profile/16462533584127117221noreply@blogger.com0tag:blogger.com,1999:blog-4969079935303977661.post-40864553718865010612022-03-03T12:02:00.001-08:002022-03-03T12:02:47.247-08:00The Fortnightly Review and Flash Fiction Magazine featuring my micro fictions/flashes<p> <a href="https://fortnightlyreview.co.uk/2022/02/micro-fictions-2/">The Fortnightly Review (look around-it's a classy one)</a></p><p><a href="https://flashfictionmagazine.com/blog/2022/02/15/things-that-matter/">Flash Fiction Magazine (Dynamic and interactive)</a> <br /></p>Avital Gad-Cykmanhttp://www.blogger.com/profile/16462533584127117221noreply@blogger.com0tag:blogger.com,1999:blog-4969079935303977661.post-32767111006315695912022-02-28T10:54:00.003-08:002022-03-03T12:05:23.709-08:00 Mandy Eve-Barnett interviews me <p> Better late...Right?</p><p>Mandy Eve-Barnett interviews me here: <a href="https://mandyevebarnett.com/2022/02/03/author-interview-avital-gad-cykman/">Mandy Eve-Barnett's Blog for Readers & Writers</a><br /></p>Avital Gad-Cykmanhttp://www.blogger.com/profile/16462533584127117221noreply@blogger.com0tag:blogger.com,1999:blog-4969079935303977661.post-63786479476124404292022-02-18T11:59:00.001-08:002022-02-18T11:59:24.653-08:00In Search of Perfect Light...: Light Reflection Over Blues<a href="https://frankjhutton.blogspot.com/2022/02/light-reflection-over-blues.html?spref=bl">In Search of Perfect Light...: Light Reflection Over Blues</a>: And doesn't this image just about say it all… That's the cover art for my dear friend Avital Gad-Cykman's latest coll...Avital Gad-Cykmanhttp://www.blogger.com/profile/16462533584127117221noreply@blogger.com0tag:blogger.com,1999:blog-4969079935303977661.post-58202228848201889982022-01-11T07:22:00.001-08:002022-01-12T12:13:52.292-08:00NEWS!<p> My second book,<i> LIGHT REFLECTION OVER BLUES, is ready for pre-order on Ravenna press's site: </i></p><p><a href="Get the book here"><i> http://ravennapress.com/books/light-reflection-over-blues/</i></a></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhzeDthcXDBuPFfBWq0Oe7TC2xrthRRF75UlmMa3CbedVUJvsG-h5SzBninz1oMy2IogQ3zc6LUSRTteuWEm8nG83B7101HpKo19We7eXUPAU5YZhpO1ntraGd5VG2Y9j4F_UxLiNQf4u11EV02wAD9nmgbHYAL56qwmYR3YH1HNnwKPtamZ9PPl4mI_Q=s2625" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2625" data-original-width="1688" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEhzeDthcXDBuPFfBWq0Oe7TC2xrthRRF75UlmMa3CbedVUJvsG-h5SzBninz1oMy2IogQ3zc6LUSRTteuWEm8nG83B7101HpKo19We7eXUPAU5YZhpO1ntraGd5VG2Y9j4F_UxLiNQf4u11EV02wAD9nmgbHYAL56qwmYR3YH1HNnwKPtamZ9PPl4mI_Q=s320" width="206" /></a></i></div><i><br /></i><p></p><p><i>I invite you to get a copy (the printer is at work!) and let me know what you think. <br /></i></p><p><i> </i><br /></p><div class="col5 floatright" id="reviews"><h4>Reviews</h4><div class="book-review quote fr"><p>The
people in Avital Gad-Cykman's stories are haunted by both the past and
the future. They live in a world where everything is fluid and
impermanent--geopolitical boundaries, family bonds, the self itself.
Their lives are simultaneously holy and profane, joyful and
heartbroken--which is another way of saying deeply, recognizably,
stirringly human. Life's unspeakable mystery winds through these stories
like a whisper in the dark.</p><p>Ron Currie, Jr, Addison M Metcalf Award recipient from the Academy of Arts and Letters</p></div><div class="book-review quote fr"><p>A stunning collection. Though I nearly inhaled <i>Light Reflection Over Blues</i> in
one sitting, Avital Gad-Cykman’s opalescent stories had me turning over
each one in my mind. With poetic, condensed language, she evokes the
pains of young women growing up amidst conflict in the landscape around
them—as well as deep in their own hearts. Sometimes surreal, sometimes
frank, but always engaging, these stories hit like smart bombs.</p><p>Viet Dinh, O’Henry Award winning author of <em>After Disasters</em></p></div><div class="book-review quote fr"><p>In
this stunning collection, Avital Gad-Cykman's elegant prose not only
shines and reflects--it resonates. Her characters are curious and wise,
surprising and real, full of depth and magic. LIGHT REFLECTION OVER
BLUES is colorful, brilliant, and necessary. One of the best--one I
won't forget.</p><p>Kim Chinquee, recipient of two Pushcart Prizes and editor of <em>ELJ</em> and <em>New World Writing</em></p></div></div><h3><br /></h3>Avital Gad-Cykmanhttp://www.blogger.com/profile/16462533584127117221noreply@blogger.com0tag:blogger.com,1999:blog-4969079935303977661.post-62431315511819047562016-03-10T11:23:00.001-08:002016-03-11T07:16:54.157-08:00Notes about EROS in old and older texts<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
<b><u>EROS<o:p></o:p></u></b></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
<b><u>From
Companion to Literary Myths, Heroes and Archetypes 412-<o:p></o:p></u></b></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
<b>Ann-Deborah Levy</b><o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
“Eros is one of the divinities in the
Greek pantheon who features most prominently in literature.” Painters and poets
have developed his mythical figure. This figure has a strange duality: 1. The
image of the young god of love. Imposed over: 2. The ancient abstract force of
desire. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
<b>First
appeared in </b>Hesiod’s
Theogony (7<sup>th</sup> century BC). He’s one of the three primordial entities
that existed before the formation of the universe: Chaos, Earth (Gaia) and Love
(Eros). <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
*He has the force of attraction necessary
for reproduction (at first without tender love.)<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
*First union and reproduction: Gaia and
her son Uranus Sky)-Uranus buried the children in their mother’s breast to
prevent generation. It shows that when abused the power of Eros is capable of
self-destruction.<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
*Orphic tradition: attributes creation to
Eros. Aristophanes parodies Orphic beliefs. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
*Parmenides and Empedocles-Another story:
Zeus devours Eros and thus empowered creates the gods and the universe. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
*<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
The breadth of Eros power extends to the
elements and nature because he’s a primordial god. Aristophanes: Eros’s power
is connected with outstanding beauty. Hesiod-the same. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
*The association of beauty and power
reflects the irresistible attraction of desire. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
*Originally he was worshipped as an
abstract power. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
<b><u>Eros and
Aphrodite<o:p></o:p></u></b></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
He saw her being born. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Also-portrayed as her son. (According to
Sappho Uranus was his father.)<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
5<sup>th</sup> century BC-Eros is the
patron deity of ephebic love (a youth in ancient Greece who had reached the age of
puberty). Personify abstract desire. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Aphrodite personified love realization and
its physical pleasure. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Greek erotic poetry: the abstract
influence exerted by Eros can be summed up as involving suffering. Sappho attributes to him cruelty. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
<b>Plato’s
Symposium-the dual aspects of Eros<o:p></o:p></b></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Six speeches in honor of Eros. Can be
grouped into three. Phaedrus-the most ancient god. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Agathon-the youngest god. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Pausanias and Eryximachus: Eros as double-
(Aphrodite, his companion, too, is able to adopt two forms.)<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
He’s interested mainly in masculine love
and spiritual matters.<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Eryximachus extends the concept of
doubleness to nature, art and science. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Aristophanes and Socrates: A “recounts the
story of how men were originally double but were cut in two as a punishment for
effrontery in challenging the gods and have ever since been desperately seeking
reunion with their missing halves. Eros represents the instinct that enables
men to rediscover happiness for an instant, along with their original
wholeness” (416). <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Socrates bases his theory on Eros’s nature
on the teachings of Diotima, a priestess at Mantinea. Eros is a demon, a
go-between linking gods and men. Poverty is his mother and Expediency his
father. He procreates through heterosexual love and also creation of the soul
through homosexual love. Moves from beauty to the concept of beauty. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
…Western literature. Psychoanalysis.<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
<b><u>PSYCHE<o:p></o:p></u></b></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
p. 982 The first version of the love story
between Psyche and Cupid can be traced to <i>Apuleius’s
The Golden Ass. </i>It’s an allegory, a fable. Psyche means soul in Greek.
Based on oral popular stories. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
The story is in my essay.<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
<b>Michel
Foucault, <i>The History of sexuality</i>
vol. II<o:p></o:p></b></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
<u>p.187 A problematic Relation<o:p></o:p></u></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
“The use of pleasure in the Relationship
with boys was a theme of anxiety for Greek thought-which is paradoxical in a
society that is believed to have ‘tolerated’ what we call ‘homosexuality.’”<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Their boundaries were different. More
between men addicted to pleasure (the tyrant Eros) with boys and women and
those moderate, self-possessed, those who had morals. (Plato). <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Can we say the Greeks were bisexual? They
had a dual practice but they didn’t recognize it as two different or competing
desires/pleasures.<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
“What made it possible to desire a man or
a woman was simply the appetite that nature had implanted in man’s heart for
‘beautiful’ human beings, whatever their sex might be” (188).<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Made a young boy and a young girl dance
and play lovers-the prize was for someone to have sex with a young boy. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
To love boys was a free practice-permitted
by law and accepted by opinion. It had religious guarantees and basis in
literature. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Mixed with it there were other attitudes:
contempt for young men who were easy or too self-interested, a disqualification
of effeminate men and disallowance of shameful behaviors. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
p.191 “it would be more worthwhile [than
the question of tolerance and homosexuality] to ask how and in what form the
pleasure enjoyed between men was problematic.”<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
We tend to think nowadays that practice
aimed for pleasure between two partners of the same sex [gender] are governed
by a particular structure of desire. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
The Greeks thought differently. Appetite
was nobler if inclined toward the more beautiful and the more honorable. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Desire called for a particular mode of
behavior between two males. An ethical form. There’s the love directed at boys.
(Why) this practice gave rise to an extraordinary complex problematization. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
There was special concern for this
relationships that implied an age difference, and status difference. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Passivity was always disliked. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
In this type of relationships there was
much at stake. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Homer: one was stronger the other more
intelligent. (195.)<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
There was certain ritualization that gave
it form, value and interest. A reward
etc etc etc<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
<u>Matrimonial life: <o:p></o:p></u></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Open to a certain point. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
In economics and household there was a
binary spatial structure: the exterior for the man, the interior for the woman.
<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Boy/man: common space. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
The man could not exercise authority over
the boy as long as he wasn’t slave born. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Strategies to allow for the other’s
freedom, ability to refuse, and consent. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Timing. (p199)<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
This bond of love was doomed to disappear
and become friendship. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Matrimonial morality and the sexual ethics
of the married man did not depend of the existence of erotic relation in order
to constitute itself and its rules. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
##<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
<b><u>Sappho, Foucault; and Women’s Erotics<o:p></o:p></u></b></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
<b><u>Hellen Green<o:p></o:p></u></b></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
“Feminist theorists have criticized
Foucault on two main points: 1) his omission of the historical construction of
sexuality as gender-specific and 2) his use of masculine forms of erotic
practice as his model for ancient sexuality in general. “<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
These forms are not transferable to feminine
behavior. His is a phallic mode of representation. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
<b>Teresa de
Lauretis:</b> gender
blindness validates sexual oppression of women. To deny gender is to remain in
“ideology” that’s self-serving. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Foucault shows the boy’s situation as the
object of pleasure that can become a subject-could be understood as honorable.
The boy received knowledge. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
It’s erotic domination-and it has
implications for women. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
…<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
What’s the alternative?<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Sappho expressed an alternative
representation of desire. There’s not enough information so we can’t draw
conclusions. However, she offers an alternative erotic practice and discourse,
with <i>mutuality.<o:p></o:p></i></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Marylyn Skinner analyses it p.4-5<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Fragment 94 by Sappho-a vivid illustration
of Sappho’s poetry of mutuality, outside male assumptions. She doesn’t observe
the lover but makes her a part of her own interior world. Punctuation is an
instrument of poetic erotica. There is a dissolution between the self and the
other. The woman is also described as independent-outside the narrator’s love for
her. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
p.11 Foucault fails to see the structures
of domination and the discourses that produce sexuality as gender reflects a
male-centered perspective. Isaac Balbus: Thus he implies that male has the
meaning of a generically human orientation. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
His text denies female subjectivity. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Marilyn Skinner: It’s the missing half of
the Greco-Roman gender dialectic. Sappho’s poems circulated because they
offered something not only to females but to males as well. It was an
opportunity to enact a woman’s part. And yet, Foucault omitted her. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
##<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
<b><u>The Greatest Cryptographer of Contemporary
Myths<o:p></o:p></u></b></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
<b><u>Talks about Love<o:p></o:p></u></b></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
<b><u>Philippe Roger interviews Roland Barthes</u></b><o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
(Here is something that explains the
cliché of reading Playboy for the articles-this one would have made me buy an
issue.)<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Barthes sees himself as a semiologist,
critic and essayist. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Barthes wrote the book <i>A Lover’s
Discourse—</i>about love. It’s a personal book, but there’s a major reference
to Goethe’s <i>Werther </i>(1774).<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Barthes: Love is out of date in the
intellectual milieu. The popular attitude too is expressed in denigrating the
lover as lunatic, a madman in jokes and remarks. Love as passion is almost
frowned upon. It’s considered an illness from which the lover should recover. (He
wants letters from the readers to prove himself wrong…)<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
In modern urban life there’s no place for the
poses of the pathetic lover. In the 19<sup>th</sup> century there were
paintings, lithographs and other forms to represent the lover. Now we cannot
recognize him on the street.<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
*The expression “The beloved object” is
one of principle: being in love is a unisex situation. In French “The Beloved
object” doesn’t take sides (fem/masc.)<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
*The beloved is never a subject. An object
indicates the depersonalization of the beloved. (unlike Sappho in the previous
text). The beloved is the unique object (psychoanalysis).<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
*One is never in love with anything but an
image. Love at first sight, ravishment, happens through an image. The ravishing
image is alive, in action. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
*Barthes’s lover would say yes to true
love, but a “lifelong love” requires optimism. The expression has no meaning,
because the lover is within a temporal absolute and doesn’t parcel time. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
*He assumes and accepts suffering and
unhappiness as a kind of value, but not in the Christian sense. It’s completely
blameless. One would cease being in love? The books come to a halt here. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
*Common sense says that some time being in
love will split from loving. One puts aside being in love with its traps, illusions
tyrannies, scenes…Become less possessive, less dialectical and jealous. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
*There’s little jealous in the book,
because there wasn’t anything original he felt he could say about it. Jealousy
is a phenomenon of anthropological breadths. Everyone knows it. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
*He’s skeptical about the attempt of “unpossessive”
love. His young friends try it-he’s amazed at their shared sexuality,
sensuality, property, but it’s always only the first impression. There’s much
jealousy involved. An unjealous lover would be a saint. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
*Loving several at once is delicious but
it’s spreading oneself thinly and it can’t last long. That’s the end of
flirting with others. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
*The lover may struggle but will discover
he’s completely enthralled. He suffers from the enslavement of the other, tries
not to be tyrannical. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
*Ideally-non-will-to-possess-borrowed from
oriental philosophies Let desire circulate freely-not to possess-to master desire
in order not to master the other. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
*Successful eroticism is with the beloved
and it can be transcendent. Sexuality remains within the experience-eroticism
makes it stronger. It’s a sentimental value. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
The film The Realm of the Senses is about
love. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
*The lover is the contrary to a cruiser-he’s
imprisoned with the image. Some cruisers do it to find someone with whom to
fall in love. Don Juan is the model cruiser. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
*The POV is of a lover who isn’t loved. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
*The lover is silly because he is situated
in a dis-reality. His personal reality is his relation to the beloved. He’s
asocial, apolitical because he’s much less invested in anything other than
love. (Dionne Brand and Adrienne Rich disagree)<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
*The lover is a marginal being. There’s no
need to place him in society through works that put him there because they are
society.</div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
*The lover is a natural semiologist-he
reads signs all the time.<o:p></o:p><br />
#<br />
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
<b><u>Adrienne Rich<o:p></o:p></u></b></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
<b><u>Compulsory heterosexuality and Lesbian
Experience, 1980. <o:p></o:p></u></b></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Compulsory heterosexuality challenges the
lesbian existence. Feminists need to examine heterosexuality as a political
institution. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
The world is hetero-centered and lesbians
are marginalized.<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Violence against women within the home especially
grew while this political take strengthened.<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
There is a maintenance of inequality
through many strategies. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Like Dionne Brand-politics interfere in
love. They weigh on the lovers. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
(Much more.)<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
<b><u>The Double Flame/Octavio Paz<o:p></o:p></u></b></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
“The original primordial fire, sexuality,
raises the red flame of eroticism, and this in tur raises and feeds another
flame, tremulous and blue: the flame of love. Eroticism ad love: the double
flame of life” (p.x).<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Poetry lets us touch the impalpable, hear
the silence (of insomnia)-Elizabeth Bishop’s silences. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Poetry is a bridge between seeing and
believing. Relationships between eroticism and poetry: <b>eroticism is the
poetry of the body and poetry is the eroticism of the language</b>.<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
<b>Eroticism</b> is sex in action while <b>sexuality/pleasure</b>
is a tool of procreation. <b>Poetry</b> too diverts from its natural <b>end</b>.
<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
<b>8 Love </b>should be
distinguished from eroticism and sexuality.<b> <o:p></o:p></b></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
<b>Sex is the primordial source while
eroticism and love derive from sexual instinct. Proust</b> -for Swann and Odette the erotic love is
detached from the sex act. Each of them feels it differently. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Sexuality is within the animate matter, shared
with animals and plants. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Eroticism is exclusively human (Anthropocene
studies would object here.) it’s an invention, imagination, a ma-made world.<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Eroticism takes sex and places it in
society-without sex there won’t be no society-b/c of no procreation. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Sex also threatens society like the god
Pan. It’s creation and destruction. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
<b>Eroticism has a double face</b>: fascination with life and death. Erotic metaphors
are ambiguous. 913)license and repression, sublimation and perversion, ascetic
and libertine. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Libertine communities are quite secretive.
14.<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
There are erotic religious practices. Tantric
sects of India and other groups in China, Mediterranean -collective ritual copulation.
Sin of Onan from the bible-perhas stopping in the middle. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
<b>Both emblematic and libertine eroticism</b> reproduction is rejected. Both want
salvation (16), both are social-individuals confronting society. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Chastity both in west and east is a test
to strengthen us spiritually and allow us to leap from the human to super
human. There are other paths too. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Song of Solomon -collection of beautiful
poems about profane love. It’s also read
as a religious allegory. (Come on.) 19<o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Libertine splits between religion and
eroticism. Sade. 20. Libertinism is a expression of desire and imagination,
timeless. For them it is black light that speaks. 24. <o:p></o:p></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
Fertility is the luminous side of
eroticism, its radiant approval of life. 26.<o:p></o:p></div>
<br />
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<br /></div>
</div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;">
<br /></div>
Avital Gad-Cykmanhttp://www.blogger.com/profile/16462533584127117221noreply@blogger.com0tag:blogger.com,1999:blog-4969079935303977661.post-56957757188553462772016-03-08T04:51:00.001-08:002016-03-08T06:24:11.852-08:00Notes about books and texts about gender, postmodernism, the body, ethnicity, minorities post-colonialism and other good stuff<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><u><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Feminism/Postmodernism edited and introduced by Linda Nicholson<o:p></o:p></span></u></b></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Intro<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">From
the late 1960s to the mid-1980s, feminist theory reflected the viewpoint of
white middle-class women of N America and western Europe. The voices of many
social groups were silenced. Feminists replicated the problematic
universalizing practice of the particular groups of thought to which their works
was most closely allied. Academic scholarship failed to see the embeddedness of
their own assumptions in a specific historical context. They sought basic
ordering principles-like God’s in the past.<o:p></o:p></span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Because
feminist scholarship had so much opposition, the scholars challenged the
universalizing notion itself, claiming that all scholarship reflected the
perspectives and ideas of its creators. (=No neutrality.)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Postmodernism
argues that “a God’s eye view” must be situated within the context of
modernity. It criticizes diverse elements such as the modern sense of self and
subjectivity, the idea of history as linear and evolutionary, and the
separation of art and mass culture.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">p.3
Beyond historicist claims about “situatedness” of <b>human thought</b> within culture
they go to the very <b>criteria</b> by which claims for knowledge are legitimized. Not
only the questions are effected but also the answers. <o:p></o:p></span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12pt; line-height: 107%;">Postmodern critique has come to focus on philosophy and the very idea of
a possible theory of knowledge, justice, or beauty. The pursuit itself of such
theories rests upon the modernist conception of a transcendent reason able to
separate itself from the body and the historical time and place.<b><o:p></o:p></b></span></div>
<div class="MsoNormal">
<b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">It exposes political agenda, Western supremacy, the legitimacy of science to tell us
how to use and view our bodies,</span></b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"> and separation art/mass culture.These ideas are o</span><span style="font-size: 12pt; line-height: 107%;">verlapping with previous feminist positions.</span><br />
<span style="font-size: 12pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>Jane
Flask</b>: Feminist theory dealing with the notions of the self, knowledge and truth
belongs more with postmodernism than with the enlightenment. It shouldn’t use
one aspect of women experience (giving birth etc) as an underlying factor in
human oppression. It’s not inclusive
enough-so it’s against the political objective. (This idea is related to intersectionality.)<o:p></o:p></span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<u><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>Politics of Location</b><o:p></o:p></span></u></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Sandra
hardig and…Are worried that eliminating cross-cultural notions will take the
basis from under the concept of gender.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>Susan
Bordo</b>: theorizing needs stopping points and gender is one of them. (Post
modernism is too relativist without it). </span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Postmodernism may affect the same kind of the historical erasure
of the body, and thus erases the (beneficial) positioning in space and time that was present
in modernism. </span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">In the Cartesian world there is no place for the body, since the
body, by situating a perspective, prevents an all-encompssing perspective.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">The
dance in postmodern writing, description of the body as fragmented and changing
and invites confusion of boundaries. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>Linda Nicholson</b>:
Metaphor-the body has boundaries-just like theories.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">The
question:<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Are
coherent theory and politics possible within a postmodern position?<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Yes-if
the theory is well-constructed.<o:p></o:p></span></div>
<div class="MsoNormal">
<b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Probyn: <o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12pt; line-height: 107%;"><b>We always negotiate our
locales</b>-working to make sense and articulate both place and event. Women are
never fixed within locale. (Localization, unlike locale, is physical.)</span><br />
<span lang="EN-US" style="font-size: 12pt; line-height: 107%;">We may live in patriarchy but the struggle to
rearticulate locale continues at different levels and in different ways. <b><o:p></o:p></b></span></div>
<div class="MsoNormal">
<b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">10 Probyn and Bordo:<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Mere abstract invocation of
difference is a political act that can be conservative.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Locale is a process, negotiable, and it has its
specific characteristics.<o:p></o:p></span></b><br />
<b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><br /></span></b></div>
<div class="MsoNormal">
<u><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>Political implications of postmodernism</b><o:p></o:p></span></u></div>
<div class="MsoNormal">
<b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">11 Donna Haraway</span></b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">-<b>Cyborg</b>-a phenomenon that violates certain previously
established distinctions, particularly between humans and animals, humans and
machines, minds and bodies, materialism and idealism. It rejects prior hopes of
unity and wholeness as expressed ideas such as unalienated labor, pre-Oedipal
symbiosis, community as family and female as goddess.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">It reveals a heightened consciousness
of boundaries, whose dark side is individualism. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Prior means of control and representation give way to
new forms. Dark aspects but a freeing aspect too. Liberatory-from certain
definitions. Women of color-identity constructed out of recognition of
otherness and difference. 12.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Domination is not based on normalization and
medialization, but through networking, communication, redesign of stress
management. WE need politics that embrace the multiple and contradictory
aspects of our identities. <o:p></o:p></span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>Iris Young</b><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>Community-individualism</b>: not as opposed as people used
to think: both may negate difference. Liberal individualism: self-sufficient,
not defined by anything or anyone other than itself. Community denies
difference by positing fusion rather than separation as the social ideal.
Discourages respect for those with whom they don’t identify.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>Gender – the concept</b> helps to understand human thought
and behavior, which is a feminist accomplishment. It represents a refining of
“humanity.”<o:p></o:p></span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">15 Judith Butler</span></b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">-Gender trouble, feminist
theory and psychoanalytic discourse <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">A central basis of the essay is that
gender identity is a regulative ideal which fundamentally assists the norm of
heterosexuality. Notions of gender identity are not the point of our liberation
but the grounding of our continued oppression.<o:p></o:p></span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">(More later.)</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">INTERSECTIONALITY<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><u><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Intersectionality as buzzwords/ Kathy
Davis<o:p></o:p></span></u></b></div>
<div class="MsoNormal">
<b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">The concept:<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">The interaction of multiple
identities and experiences of exclusion and subordination. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">It’s an important contribution for
feminist scholarship. </span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">It has generated uncertainties, confusion and debate. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Davis claims based on Murray Davis
that the concept's <b>ambiguity and open-endedness</b> are the secrets for its success,
and it makes it good feminist theory.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">68 Intersectionality refers to he
interaction between gender, race, class and other categories of difference in
individual lives, social practices, institutional arrangements and cultural
ideologies, and the outcomes of these interactions in terms of power.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">The term was coined by <b>Kimberlé
Crenshaw</b> in 1989 to address the exclusion of experiences and struggles of women of
color both from feminist and anti-racist discourse. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">A theory succeeds when it appeals to a concern
regarded as fundamental by many scholars in a way that’s not only unexpected
but inherently mystifying and open-ended. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">70 This concept addresses the question of
difference among women. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>Matsuda</b> 1991 :1189: suggested a
method of asking “the other question”-when something looks sexist asks where’s
the patriarchy in it/the heterosexism/class etc. (Already a cliché according to
Davis.)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Intersectionality is related to black feminism and to
postmodern feminist theory, and also to queer theory and diaspora studies.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">History of it-p.73<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">What’s the TWIST?<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">It offered a novel link between
critical feminist theory on the effect of sexism, class and racism and a
critical methodology, inspired by postmodern feminist theory, bringing them
together in new ways. It solved the
problems each group saw in the theory of the other, overcoming these
incompatibilities, thus offering a new platform of collaboration. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>Basic doubts:</b><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Which and how many categories should
be included?<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Won’t the endless proliferation of
difference be after all the weak spot?<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Do we need to think across categories
or focus on sites where multiple identities are performed?<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">What’s the scope of the analysis?
Identity or detriment of social structure? Connection? Mobilization? Uncovering
vulnerabilities?<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">It bridges between theorists and
generalists. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">77 <b>Butler and Joan Scott</b>- feminist
theory needs to reach out to political objectives beyond these to which it was
constrained.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Important notes-p. 79 with
references. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">81-Butler: categories: gender, race, ethnicity,
class, sexuality, able-bodiedness.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>Luz Helma </b>2002: Categories: gender, sexuality,
race or skin color, ethnicity, national belonging, class, culture, religion,
able-bodiedness, age, sedentariness, property ownership, location (geographical),
status in term of tradition and development. <o:p></o:p></span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<b><u><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">The Politics of
Postmodernism/ Linda Hutcheon 1990<o:p></o:p></span></u></b></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Any attempt to define postmodernism
would aim to say what it is and what it is not. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">A phenomenon whose mode is
contradictory and political. It takes the form of self-conscious,
self-contradictory and self-undermining statement. A commitment to duplicity.
It installs and reinforces while also subverting conventions. <o:p></o:p></span></div>
<div class="MsoNormal">
<b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Doxa</span></b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">=force of nature<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>Barthes:</b> Doxa is public opinion or
the voice of nature.<o:p></o:p></span></div>
<div class="MsoNormal">
<b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Foucault</span></b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">-power is not something unitary that
exists outside us. It is spread across all fields of force.<o:p></o:p></span></div>
<div class="MsoNormal">
<b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Derrida</span></b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">-textuality and defferal<o:p></o:p></span></div>
<div class="MsoNormal">
<b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Layotard</span></b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">-intellectual mastery and its limits.
24-no unitary narrative but multiple ones. <br />
<b>Jameson 24-2.</b><o:p></o:p></span></div>
<div class="MsoNormal">
<b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Luiz Althusser-</span></b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Marxist<b>-</b>notion of
<b>ideology</b> both as a system<b> </b>representation and a necessary part of every
social totality. 1969:231-2<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">By using and abusing general
conventions and forms of representation postmodern art de-naturalizes them. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Postmodern critics acknowledge that the criticism is from their perspective. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Facts are events to which we have
given meanings. (57)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">We cannot avoid the past and escape
it but need to access it through traces, come to terms and confront. (58) The
history of representation. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">About <b>Narrative</b>-p. 66<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Postmodern theory doesn’t have an
agency to cause change but it does question and does a de-naturalizing
critique. It works to de-doxify.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>In Hutcheon’s book the analysis focuses mainly on the ideological values and interests that inform any representation</b>. <o:p></o:p></span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">(Intersection):</span></b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"> Nigel Wlliams’s 1985’s <i>Star
Turn </i>(fiction) does not stop at the analysis of class difference: race is shown to enter
into complicity with class on both formal and thematic levels of the novel. 5. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Postmodern theory and practice
suggests that <b>everything has always been culturally- mediated by
representations. </b><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 107%; mso-ansi-language: PT-BR;">No realism
transparency.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 107%; mso-ansi-language: PT-BR;">No modern reflexive response<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">(Modernism-rationality, history as
linear development, art vs mass culture centered subjectivity.)<o:p></o:p></span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<u><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>p. 141 Postmodernism and feminisms</b><o:p></o:p></span></u></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Feminisms-awkward and accurate. A
multiplicity of POV’s that possess at least some common denomination when it
comes to the notion of the politics of representation. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Politicizing desire-fear of disease,
fetishization of fitness led to recessionary erotic economy. Problematizing the
body and its sexuality-and the erotic is a part of it. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">The body cannot escape
representation-here: the feminist challenge to a patriarchal underpinning of
cultural practices. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Gendered art. (142-3)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>Postmodernism</b> is politically
ambivalent for its <b>doubly coded-complicitous with and contesting of</b> the
cultural dominants by which it operates. <b>Feminisms</b> have distinct,
unambiguous political agenda of resistance. Feminisms radicalize the postmodern sense
of difference and de-naturalized the traditional separation of private and
public, personal and political. Both theories are interested in
representations. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Sexual difference is continually
reproduced. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Feminisms focus on politics of
representation of knowledge, therefore power. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">They made postmodernism think about the
female body and its desires, and how its socially constructed through
representation. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Visual or linguistic-it’s always
systems of meanings operating with socially produced and historically
conditioned codes.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">144 Both theories de-doxify the
notion of desire as individual fulfillment. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Desire is a value of
poststructuralist theory. It is also a norm of consumer society. (Marxists deconstruct it.)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">145 Angela Carter’s <i>Black Venus</i>-Jeanne
Duval denied Bauldaire his advances and wasn’t treated kindly by biographers
though he had syphilis. Also he might have wanted more desire than
consummation while she wanted sex. (paradox?) </span><span style="font-size: 16px; line-height: 17.12px;">Her not understanding his poetry-occured simply due to language + he forced it on her. </span><span style="font-size: 12pt; line-height: 107%;">Manet painted her without sympathy. The woman is just a </span><b style="font-size: 12pt; line-height: 107%;">mediating
sign </b><span style="font-size: 12pt; line-height: 107%;">for the male. Carter </span><b style="font-size: 12pt; line-height: 107%;">codes and re-codes</b><span style="font-size: 12pt; line-height: 107%;"> the colonized territory of the
female body. Erotic masculine fantasy Vs female experience…For the West Indian
woman the island paradise he imagines is “glaring yellow shore and harsh blue
skies.” (Very interesting.) Carter allows her to have back her history. </span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Feminist theory and postmodernism
influence one another in regard to <b>change</b>. Parody is postmodern strategy. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Problematizing gendered
representations. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">##<o:p></o:p></span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">POSTMODERN THESAUROUS<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Discourse, deconstruction,
fragmentation, representation, subversion, questioning the
center/universality/nature/truth, context, corporeality, language, system of
meaning, resignification, power relations, counter-discourse, marginal, resistance, subversion,
access to knowledge and power, the investigation of social, cultural and
historical production of meaning, ambivalence. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><u><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">The Empire Writes Back<o:p></o:p></span></u></b><br />
<span style="background-color: white; color: #222222; font-family: "arial" , sans-serif; font-size: 13px; line-height: 16.12px;">Theory and Practice in Post-Colonial Literature is a 1989 Bill Ashcroft, eds. Gareth Griffiths and Helen Tiffin</span></div>
<div class="MsoNormal">
<b><u><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Bill Ashcroft: Re-placing
Theory: post-colonial writing and literary theory (chapter 5)<o:p></o:p></span></u></b></div>
<div class="MsoNormal">
<u><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>Post-colonial literature and
postmodernism</b><o:p></o:p></span></u></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Post-colonial writing and literary
theory intersect with the movement of poststructuralism, and Marxist and
feminist criticism among others. There is an undeniable interaction. However,
the appropriation of these recent European theories introduces the danger of going
back to internationalist paradigms. </span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Literature in the 20<sup>th</sup>
century is closely determined by its relation to imperialism. The best theory
to analyse it is the post-colonial. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Modernism/colonial experience<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Through modernism Europeans realized
that their culture was one amongst the plurality of ways of conceiving reality
and organizing its representation in art and social practice. (156)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>African art,</b> artefacts that
arrived in Europe during the oppression generated interest and appeared in
literature (D.H. Lawrence's <i>The Rainbow</i>). <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">19<sup>th</sup> century: “primitive”
“savage”<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">20<sup>th</sup>: re-discovery<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">This art called into question the
European basic assumptions of aesthetics. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Slavic culture sought its roots and
with this it questioned basic ideas of culture.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">158 The African was unique, on the
margin, positive and negative force in the European conception of itself. It was considered
a prior stage, the dark side of the European (Conrad’s <i>Heart of Darkness</i>.)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>Yeats: "After us the savage God</b>." (The
true face of the savage, a threat.)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>World War I</b> dismantled the belief in
civilization. A tendency toward postmodernism to deconstruct the culture and
discover the “Other” in the form of non-European culture in order to produce
and reproduce European art. There is an effect on BOTH cultures. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Indian and Chinese cultures were more
respected than African. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>Hegel:</b> defines the African continent as being
“outside history”. It could serve as a mirror, as a negative of the positive,
the black Other to the white norm, demonic opposite. </span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>Two main views: either horror
or a liberating form from “civilization.”</b><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">(Rimbaud—Nicholson-his relations to
Africa)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">“Discovery” of Africa by Europe heads to
rediscovery and self-doubt. <o:p></o:p></span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<u><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>New criticism and post-colonial
theory</b><o:p></o:p></span></u></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Influential modern movement called
the New Criticism: a product of the <b>post-colonial</b> USA: their intent to
establish a literary canon against the English traditional supremacy. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">They begin again with each work.</span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"> It
emphasizes the individual work.</span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">It gave validity to work previously denied,
including African. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">The negative aspect: assimilation of
post-colonial writers, assumption of objectivity, unseen in their context,
unseen as innovative and subversive of European values. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Thanks to it, post-colonial criticism
began to investigate theoretical problems in a different model of literature.
Comparative study reveals postcolonial characteristics beyond national ones. <o:p></o:p></span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<u><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>Postmodernism and post-colonial</b><o:p></o:p></span></u></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Exposing formations as
culture-specific. <o:p></o:p></span></div>
<div class="MsoNormal">
<b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Foucault</span></b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">: casts doubts on objective
historical consciousness: the fictive nature of historical reconstructions.
Despite the recognition of “otherness” structuralism and poststructuralism
sometimes operate like Western historicizing consciousness to appropriate and
control the Other. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Rather than seeing poststructuralism and
postmodern as decentering forces, they <b>reaffirm certain lit as subversiv</b>e thus
allowing USA to recapture their own culture through Eurocentric assumptions. </span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">USA is postcolonial too, which means <b>both
appropriation and subversion</b>. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">164 Intellectuals want to define themselves
against their colonial past and against international postmodernism. In general, however, USA tends more toward postmodernism than toward post-colonial. <o:p></o:p></span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<u><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>Post coloniality and contemporary
European theory </b><o:p></o:p></span></u></div>
<div class="MsoNormal">
<b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Jen Francois Layotard </span></b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">1979<b>: narrative </b>is
an alternative mode of knowledge to science.<b> <o:p></o:p></b></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">(Less text and more context.)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">In oral societies narrative dominates
and it’s an integral part of society, not a category above<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Science classifies narrative as
savage. This is the beginning of imperialism. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">For him postmodernism will articulate
a weave of practices grounded in the particular and local. <o:p></o:p></span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<u><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>Post coloniality and discourse theory</b><o:p></o:p></span></u></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">167 A<b> discourse</b> in the <b>Foucauldian</b>
sense is best understood as a system of possibility for knowledge. <o:p></o:p></span></div>
<div class="MsoNormal">
<b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Edward Said </span></b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">proposes “orientalism” as
the discourse which constituted the Orient in the consciousness of the West.
“such locales, regions, geographical sectors as “Orient” and “Occident” are
man-made.” (1978:5)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">To him, identity is constructed based
on the difference (King or Stewart Hall won’t agree?) distancing from the
center and self-assertion. <o:p></o:p></span></div>
<div class="MsoNormal">
<b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Foucault</span></b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">: The post-colonial discourse is
grounded in a struggle for power over truth, the power focused in the control
of metropolitan language. What rules allows the construction of maps.<o:p></o:p></span></div>
<div class="MsoNormal">
<b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Homi Bhabha</span></b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">: this struggle may mimic
the struggle for colonial dominance. Solution-only in a theory that embraces
difference and absence as material signs of power and not of negation, of
freedom and not subjugation, creativity and not limitation.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Post-colonial theory can appropriate
what it wants from the European system discoursive formations overlap and
intersperse.<o:p></o:p></span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<u><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>Counter Discourse-Richard Terdiman</b><o:p></o:p></span></u></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">1986-recognizes in language the
material site of text’s social production.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Against the view of Saussure that
language systems can be split into system of meanings and nonsystematic. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Agrees with Foucault that culture is
a field of struggle. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">169 Discourse comes into practice in
a structure of counter-discursive practices. <b>The conflict is not a
contamination of the language but a defining function in power relations.</b><o:p></o:p></span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<u><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>Post coloniality and theories of
ideology</b><o:p></o:p></span></u></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">The works of Marxist
critics-Althusser, Michel Pecheux, and Frederic Jameson is relevant to the
problematic relation between language and literary practice addressed by
post-colonial critics. (Bhabha 1984, 257) and to the problem of building an
identity within the self-Other imposed by imperialism.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">=creation of subjects through
ideological language and practices. (Foucault).<o:p></o:p></span></div>
<div class="MsoNormal">
<b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Pecheux:</span></b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"> 1.The good
subject-identification, consent<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">2.The bad subject-counter
identification-refuses the image offered and turns it back on the offerrer. “What<i> you</i> call the oil crisis.”<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">3. "Dis-indification”-recognizes that ideologies are transformable-working
of the subject form and not just its abolition. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">The meaning of words change according
to who utters them. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>Jameson</b>-literature is informed by the
political unconscious. Reading=unmasking.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Led to - <b>Postcolonial narrative as
reconstruction</b>.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">172 Jameson: The text transforms the
historical subtext which it draws up into itself=a symbolic act, relationships
between authors and their societies,<o:p></o:p></span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">A book is more influential than the experience itself. (Jameson or Bhabha?)</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Reciprocity between Other and self.
The identity of the other doesn’t emerge only from ideology or resistance to
ideology. </span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">In post-colonial society there’s a hierarchy and set relationships.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">European postmodernism labels the
world-again constructing peripheral and central areas.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">…<o:p></o:p></span></div>
<div class="MsoNormal">
<u><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>174 Feminism and post colonialism</b><o:p></o:p></span></u></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">In many societies women have regulated
the position of the “Other”.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>The same concepts: language, voice,
silence, mimicry, other, difference. (subaltern-Gayatri Spivak 1981)</b><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>Feminist critics reject the
patriarchal bases of literary theory and criticism, subvert them and show their
relativity.<o:p></o:p></b></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>Feminist and post-colonial discourses
both seek to reinstate the marginalized in the face of the dominant.<o:p></o:p></b></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>They question, unmask. No
inversion. Rereading. Subversion of
patriarchal literary forms. </b><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Binarism-if we lose sight of it we
may lose the problem of racism among others.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">The projects of both discourses are
directed toward the future. Intersections between the two. <o:p></o:p></span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<u><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">177 <b>The Politics of
Theory-Decolonizing colonialist discourse</b><o:p></o:p></span></u></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Through appropriation of
poststructuralist theory critics offer ways to dismantle colonialism’s
signifying system and exposing the silencing and oppression<o:p></o:p></span></div>
<div class="MsoNormal">
<b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Gayatri Spivak:</span></b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"> Colonized women-a double
subjection. There’s no space from where the subaltern (sexed) subject can
speak.” (1985:122) -extended to the whole colonial world. There’s an absent of
text that can answer epistemic violence. <o:p></o:p></span></div>
<div class="MsoNormal">
<b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Homi Bhabha</span></b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"> disagrees: the colonized
is indeed constructed within a disabling master discourse. Colonial discourse of
‘reform, regulation and discipline’ appropriates bad mimicry and the Other. But
the subaltern has in fact spoken and thus, properly symptomatic readings can
recover the native voice. <o:p></o:p></span></div>
<div class="MsoNormal">
<b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">“Parry invokes Fanon</span></b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"> as classic and
alternative model whose position she characterizes as constructing a
politically conscious unified Self…” She rejects both Spivak and Bhabha’s work
as still connected to the same signifying systems, but her main complaint
is <b>their political ineffectiveness. </b>(Total independence from the past
despite Fanon’s int. Ascroft: she doesn’t speak about more complex colonialism-less
military…180)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>Ashcroft</b>: Critical and creative<b>
post-colonial texts are hybrid</b>. <b>There are multiple forms of
post-colonial difference</b>-so hybridity will continue. <o:p></o:p></span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<u><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>181 Post-colonial reconstructions:
literature</b><o:p></o:p></span></u></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Different styles: for instance: inherited
from traditional, oral literature. Not linear, goes in swoops, reiterates,
digresses off a new sudden idea etc. (Rushdie uses such narrative structure in
<i>Midnight Children</i>.)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Cross-cultural literature.
Combination of English styles with oral etc. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Reading without essentialism. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Return to traditional pre-colonial
(indigenous) forms – brings a renewed sense of identity and self-value. <o:p></o:p></span></div>
<div class="MsoNormal">
<u><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Meaning</span></u><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">-how to read: three pillars: author,
reader, text. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">The text is the event. The participants
may be absent. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Value-like meaning is “not an intrinsic
quality but a relation between the object and certain criteria brought to bear
upon it.” 187<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b><u>Post-colonial as reading strategy
(189)</u></b><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">“A canon is not a body of texts per
se, but rather a set of reading practices (the enactment of innumerable
individual and community assumptions, for example, about genre, about
literature, and even about writing.” <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">A range of ways of engaging with
texts from the canon have emerged…<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Reading strategies, reconstruction,
uncovering silences, showing the repression of the economic basis to civilized
practices. Seeing the context, seeing its effects, revisioning in the light of
post-colonial discursive practices. Subversive accounts.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Post-coloniality seen as a reading strategy
and not as texts. <o:p></o:p></span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<b><u><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">STUART HALL<o:p></o:p></span></u></b></div>
<div class="MsoNormal">
<b><u><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">From the Net-</span></u></b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Signification is the
meaning a culture gives.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Representation-comes through the
language that gives meaning and signifies. The production of meaning is not
fixed. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">The media is one of the most powerful
circulators on meaning. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Ideology is an attempt to fix
meaning. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Stereotypes-an attempt to fix
meanings as well. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">What you see/don’t see/expect or
don’t expect to see in images. The absence of information subverts out expectations.
<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Making meaning-interpreting
(contextually what is represented. <o:p></o:p></span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<b><u><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Stuart Hall: 1932-2014
(Thinking Allowed, 12/2/14) </span></u></b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">https://www.youtube.com/watch?v=g70bqF_1xAo<b><u><o:p></o:p></u></b></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Born in Jamaica in 1932. His words: He was the
blackest of the brothers. In Jamaica, your shade of color is the most important
question. His mother never wanted to be Jamaican but “properly English.” Got to
Oxford and realized he could not be “a part of it.” You can’t learn
“Englishness”each learned text is a part of life. Became interested in contemporary
cultural studies.<o:p></o:p></span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">There is no authentic culture-culture
is mixed and blended. Mass culture
coming from the US was also a significant place of culture-a lot of
information. (Worked with Richard Hoggart.</span>)</div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Looking at struggle and contestation.
</span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Class politics can’t be accepted. </span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Came
with coding and encoding, decoding images on TV-the hegemonic power transmits
messages to people about race and class. </span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Decoded in order to look at things
differently.</span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">In the end young people are going to be delivered into society as
productive members but they can question. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Black politics-he wasn’t engaged in
black community activity in the regular sense. </span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">The community found very little space especially in
the academy. He focused on issues of identity and representation-realized
there’s an opening (Caspar-resistance) resisting what the mainstream tried to
impose upon people. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">His disillusionment-a lot of rubbish
mascaraed as culture. Didn’t want to interpret for others-they sought a new
paternal role. He’s only interested in what can change the world. He is involved with cultural studies only in order to act socially, resistance -and not caricature,
a generic study. <o:p></o:p></span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Lola Young: He kept negotiating different
spaces and ideas regarding black people. Always in a dialogue with ideas and terms
such as multi-culturalism (he rejected it because it became “harmony” fiction). </span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">He asked what kind of differences
matter and how they are made to matter or to seem to matter in relation to race
and ethnicity. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">In the left people weren’t discussing
race, gender et-as if asserting the classes everything else will fall into
place, but he questioned everything.<o:p></o:p></span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<b><u><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Stuart Hall (Free
Thinking, 13/12/04)<o:p></o:p></span></u></b></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">https://www.youtube.com/watch?v=NSCjcyqIL50<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">His family orientation was toward
England-critical of the Caribbean. A generation that decided they had to do
something and get out-in order to go back. Didn’t have a moment of decision not
to go back. He’s a part of the diaspora. It’s how life turn out. Discovered his
Careabeanism only in London. Discovered who he was in West Indian. His mother
said-I hope they don’t think you’re an immigrant-but that’s what he was. She
said-black-and he realized he was black indeed. (It appears in his lecture). Identity
doesn’t grow inside you-it’s a response from something of the outside and something
of the inside. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Was interested in Henry James: very
in-between: not American or European, wanting to go back but never would. <o:p></o:p></span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<b><u><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Multiculturalism (In Our
Time, 13/5/99)<o:p></o:p></span></u></b></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">https://www.youtube.com/watch?v=XzarDosXIHM
<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Hall’s books (then) concentrated on
cultural identity, race and ethnicity. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">"The divisions between people
provoked and exploited because of differences in religion, culture, nationality
and race seem to beset the planet the more information technology promises globalization.
A recent estimate put the figure of people living in a country other than the
one of their birth at 80 million. Does this mean that, amongst these eighty
million people, their country of origin, their sense of self, and their cultural
history are no longer as significant as they were? And how are those eighty
million people and their descendants accommodated in the country to which they
have moved - do their lives exemplify the success of multicultural policies or
are they subject to racism? Is it possible to define how attitudes to race and
identity have changed this century, given its vast shifts of population,
cultures and peoples?”<o:p></o:p></span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Stuart Hall: </span></b><span style="font-size: 12pt; line-height: 107%;">Immigration. Problems of both England
and the immigrants. Questions of co-existing. The English expected them to go
home-Hall just chose not to. Questions: “Who are you? Where do you belong?
Knows welll both cultures.</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">The dream of both sides that full
assimilation will happen-that after a generation or two the immigrants will
totally mingle clearly fell. No side actually wanted it. </span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Multi-cultural: make a
common life together. Multi-cultural drift-many ethnic backgrounds-it just
happened. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>Dr Avtar Brah</b> (passed through many immigrations
Uganda-Pakistan -US-England (?)) </span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Assimilation into what? The dominant culture
talks about it, but when outsiders enter, the insiders change too. </span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Many kinds
of Orientalisms have been directed at her, but in England she was soon called “Paki”.
Subjected to discrimination in direct and indirect forms. </span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">The British never
conceived themselves as a group of ethnicities. USA yes. </span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Colonial relations in
Britain make it different. Self-conception of themselves-USA make "Americans" out of many ethnicities. </span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Both England and USA were slave societies but the British colonial is different. It
constructs relationships in a different way. </span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">In the US there’s an intimacy
between blacks and whites. England constructed it as if the relations started
in 1954-as if they didn’t know where the colored people came for. Reconstructed
as if there isn’t a history-but the history comes back. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><b>Ethnicity-constructing a sense
of belonging for a group, where the boundaries are shifting</b>. -The question is always there: how a group
construct itself differently. <o:p></o:p></span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">20 minute<b> Melvyn Bragg</b> (interviewer)-<b>Jews</b>
feel obliged both to England and Israel and contribute to both. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Hall-the Jews are almost
assimilated-or appear to be so, unlike African-American. This is because of the
crisis of what is the British identity. We need public value that valorizes difference. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Brah: not only ethnicity but also
class. Jewishness-which group? Black Jews? Then it’s not Jewish per-se. We
cannot forget the color. There’s a European Jew-a different debate. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Hall: race – we think about genetic
differences but need to be thinking about negotiating it socially.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Brah: <b>Communality of experience</b>-like
football team unite a group: it creates <b>belonging</b>. But also there’s the
<b>construction of race</b>-where you are talked about as <b>different and outsider</b>. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Stigmatism and pragmatism. In a
global world maybe we should start with small local groups. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Hall: There are attachments, but culture is moving, changing, influencing and is influenced, and <b>locality has a response to the globe and
immigration</b>. A multicultural being comes out of this context. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><u><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Thomas King<o:p></o:p></span></u></b></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Thomas King was born in Sacramento,
California in 1943. His father is Cherokee and his mother is of Greek descent.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">The Truth About Stories - Thomas King
- Lecture 1<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US"><span style="font-size: 12.0pt; line-height: 107%;"><a href="https://www.youtube.com/watch?v=wzXQoZ6pE-M">https://www.youtube.com/watch?v=wzXQoZ6pE-M</a></span></span><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"><o:p></o:p></span><br />
<span lang="EN-US"><br /></span>
<br />
<div class="MsoNormal">
<b><u><span lang="EN-US" style="font-size: 12pt; line-height: 17.12px;">Gloria Anzaldua<o:p></o:p></span></u></b></div>
<span lang="EN-US"></span><br />
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12pt; line-height: 17.12px;">Borderland</span></div>
</div>
<div class="MsoNormal">
<b><u><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">NEW PERSPECTIVES ON GLORIA
E. ANZALDÚA<o:p></o:p></span></u></b></div>
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<u><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Shifting Worlds, una entrada /
AnaLouise Keating<o:p></o:p></span></u></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Nepantla means in Nahuatl “in between
space”, indicating temporal, spatial, psychic, and/or intellectual point(s) of
liminality and potential transformation. “During nepantla individual and
collective self-conceptions and worldviews are shattered.” </span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Apparently fixed categories based on gender/ethnicity/race/sexuality/economic
status/health/religion/different combinations of these and others become more permeable and begin to break
down. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Nepantleras: mediators,
in-betweeners, those who facilitate passage between worlds (“(Un)natural
bridges” 1)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">2-her life as nepntlera<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">It shapes her work and life. She challenges
and deepens through words. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">A great citation p.2-“I am a
wind-swayed bridge…” (205)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Multiple allegiances and worlds. She rejects the need for unitary identities and exclusive alliances. All is based
on affinities-“new tribalism”. </span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;"> She moves
between ad among worlds, like her writing. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">(Good for characters’ analysis.)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">She says that Borderland is a part of a much larger project. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Autohistoria=autofiction,
self-awareness employed in the service of social-justice work.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Nepantla…pathway to change-citation
p.6<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Intersecting selves p.7-we are the
other, the other is us…alliance between us and others.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Expanding the vision p.8 knowledge
shares sense of affinity…</span><br />
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">Potentially transformative elements of the theories of
mestiza consciousness and others. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 107%;">New tribalism-the queer group- “the
people that don’t belong anywhere, not in the dominant world nor completely
within our respective cultures.”<o:p></o:p></span></div>
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Avital Gad-Cykmanhttp://www.blogger.com/profile/16462533584127117221noreply@blogger.com2tag:blogger.com,1999:blog-4969079935303977661.post-54609197447896210782015-08-28T06:53:00.000-07:002015-08-28T06:57:01.416-07:00Review of Life In Life Out in Per ContraPer Contra published a review of Life In, Life Out. It's an insightful and generous review by Antonio Carlos Santos, a Brazilian expert in translation and aesthetics.<br />
The review is <a href="http://www.percontra.net/issues/36/nonfiction/avital-gad-cykman-life/" target="_blank">here:</a><br />
It says:<br />
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<cite>Life In, Life Out</cite></h3>
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Avital Gad-Cykman</h3>
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Wynnewood, PA, Matter Press<br />2014. pp. 107</h4>
<span class="contributor">review by <a href="http://www.percontra.net/contributors/#antonio-carlos-santos" style="color: #666666; text-decoration: none;">Antonio Carlos Santos</a></span></li>
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Avital Gad-Cykman’s fine debut collection <em>Life In, Life Out</em> is a book of flashes, or rather, rapid illuminations of everyday situations. The flashes are divided into two parts: “Minute Life Length” tends toward realism and “Sudden Changes” is more surreal. In a general manner, this is literature of exile: an Israeli author who lives in Brazil and writes in English. It brings to mind the Russian Vladimir Nabokov and the Polish Joseph Conrad, both writing in English, their second language, working from within a space that allows for distance and perspective. The same comes through the writing in this book.</div>
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The flashes in <em>Life In, Life Out</em> are often narrated by women or are about women, wives, lovers and mothers. The interesting choice of not naming characters in general (calling them “husbands” “mothers” “son” “daughter” etc.) makes them anyone, or rather, any of us, involving the readers in the story and making us a part of it.</div>
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The flashes speak of women’s relationships--in “Once a Month We Play” these are mostly relationships with other women--but in “All of Them” the narrator says: "Serving tables is not as difficult as dealing with men."</div>
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Interestingly, in “Once a Month We Play” the narrator takes the first person plural to speak about women surrounded by war and death: “Each of us young women has gone through the first year’s mourning, the second year’s recovery, an attempt at new relationships, and then nothing, or rather ‘something’ that we can’t capture with words. We tried ‘loneliness,’ ‘void,’ and ‘vacuum...’” The entire narration takes place while the women play with toy soldiers and with children. The roles of men and women are divided here: while the men protect the borders and kill other husbands, the women produce children who one day will also be husbands who kill husbands.</div>
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The war is constant in Gad-Cykman’s stories: soldiers, border protection, and children's games. War sometimes appears simply as a quick reference but it is a constant situation so it determines the lives of the characters.</div>
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However difficult the situation appears to be, however, when the narrator speaks in the plural, as in “Once a Month We Play” or “Sudden Changes,” the group gathers power against the circumstances. On the other hand, the sense of a group threatens to diminish the individuality and the power to change.</div>
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In several flashes such as “The Bison,” sexuality and sensuality propel the story forward. In “The Bison” the character of the mother appears in relation to her body, pregnancy. The pregnant woman is involved with the senses: the olives she eats link her from the first sentence to the bison and to words spoken in Arabic by a shepherd who represents “the other.” The character is named Sara Frishman: Sara brings to mind Abraham’s wife, and Frishman means a vigorous man, healthy, full of life and active. Everything revolves around the sensuous: there are smells coming from the vicinity: a child's dirty diaper, dates and the Arabian shepherd’s sweat. There is also a relationship here between the Arabic words and the female body: “It had been long since words played with her body like that."</div>
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In “Sudden Changes,” however, the narrator is a man: "The ocean has been generous to us, as well as the fields, the women, the rains.” According to the narrator, women arise between the fields and the rain like another element of nature: their bodies flourish like plants. The text is marked by this full-of-lust, rather inebriated narrator, surrounded by the sea and the smell of fish and fruit. To him, "Their [the women’s] bodies blossom and open like sea anemones, moving round and mature limbs.” Women’s legs open, exposing vaginas that resemble gleaming mangos full of juice, and he says, "they intoxicate us with the scent of the earth.” The narrator, unlike the women, appears to have "lost the command of nature’s signs."</div>
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As you go on reading, it is amusing to notice how often animals populate the flashes: a cat, buffalo, donkey, rooster, horse, wolf, bee, frog, as well as grasshoppers, birds, hyenas and fish. Sometimes they are elements of comparison and on other occasions they are key characters. In “Once a Month We Play” roosters and a donkey open the story, challenging what is generally considered to be their “true nature”: “The farm animals’ roles keep changing according to their preferences. We were wrong, wrong, wrong, to think that all donkeys or all roosters share the same nature.”</div>
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As a final observation, it is fascinating to find in “Mines” a comparison between words and mines: “Words blow off. As do Mines.” It is an approach we see in Homer: a connection between literature and war or between the arts and war (just remember Picasso and his Guernica - the frames are not made to decorate houses; they are weapons of war). “The Bison” as well as other flashes evokes a notion of vanguard. The words take shape and explode like mines, and in “The Bison” they blow off into the body of Sara.<br />
This collection celebrates such words. </div>
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Avital Gad-Cykmanhttp://www.blogger.com/profile/16462533584127117221noreply@blogger.com0tag:blogger.com,1999:blog-4969079935303977661.post-23766794213299408652015-05-19T18:34:00.002-07:002015-05-22T10:02:38.442-07:00Do we need Romantic Comedies about 40+ people? And...Romantic Comedies?<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: 'Times New Roman', serif; line-height: 115%;">The bigger question is not if we need romantic comedies about older
people, which is a matter of age, but if we need romantic comedies at all…In
that case we speak the genre.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: 'Times New Roman', serif; line-height: 115%;"> I’d like to speak about genre AND
age, although when the film is what Brazilians call “sugared water” it’s not
interesting no matter what age it covers or what genre it is.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: 'Times New Roman', serif; line-height: 115%;"> You may enjoy most contemporary
“rom-com” if you love a spark between two people, then a parental or ex’s or
society’s disapproval, or, alternatively, a misunderstanding, and after a bit
of a mess a happy ending, you are going to enjoy yourself in most romantic
comedies. But I want my water pure and my romantic comedies smart and funny.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: 'Times New Roman', serif; line-height: 115%;">Despite past disappointments, I watched the film </span><span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;"><span style="color: blue;"><b>Words and Pictures (2013</b></span>)</span><span style="font-family: 'Times New Roman', serif; line-height: 115%;">. I couldn't resist the cast, especially</span><span style="color: blue; font-family: 'Times New Roman', serif; line-height: 115%;"> Juliette Binoche and Clive Owen</span><span style="font-family: 'Times New Roman', serif; line-height: 115%;">.
If there was any chance I'd enjoy a romantic comedy it would have been one with
them. Also, it was about people who are over 40. </span><span style="color: blue; font-family: 'Times New Roman', serif; line-height: 115%;">The Director, Fred Schepisi
and the writer, Gerald Di Pego</span><span style="font-family: 'Times New Roman', serif; line-height: 115%;"> have done interesting work in the past.</span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: 'Times New Roman', serif; line-height: 115%;">Another chance to enjoy a movie of this kind: if it didn't take itself
seriously.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: 'Times New Roman', serif; line-height: 115%;">Well, I didn't enjoy it very much.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: 'Times New Roman', serif; line-height: 115%;">Some parts were better than others. The idea of aged and imperfect
lovers is cool. But...Well, the story goes like this: an alcoholic poet and
teacher Jack Marcus is testing his relationships and losing his credibility.
His bitterness emerges everywhere including the classroom.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: 'Times New Roman', serif; line-height: 115%;">A debilitated with rheumatism, painter and teacher Dina Delsanto comes
to the little town college due to her worsening state of health. She is a rigid
but excellent teacher.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: 'Times New Roman', serif; line-height: 115%;">They meet. One brings words, the other pictures, and through their
students, who become better people thanks to it, they compete and tease and
flirt and do what people do in a romantic comedy.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: 'Times New Roman', serif; line-height: 115%;">I think that because it was about 40+ aged people I was hoping for more
depth and subtlety, and better humor.<o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman', serif; line-height: 115%;">My wise friends, who understand
cinema and read a lot and create their own stories, books, scripts and plays
expressed their opinions, and I’m proudly quote them here.<o:p></o:p></span><br />
<span style="font-family: 'Times New Roman', serif; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: 'Times New Roman', serif; line-height: 115%;"><span style="color: blue;"><b>Andrew Tibbett</b></span>, for instance says: I like that cast and that director a
lot. It's too bad the film couldn't find a better spin on the genre. I like
that cast and that director a lot. It's too bad the film couldn't find a better
spin on the genre.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: 'Times New Roman', serif; line-height: 115%;">Younger romcoms seem more willing to be funny. The older ones with Diane
Keaten and Merle Streep and the like appear to take themselves too seriously.
As you say, if ever a genre needed to NOT take itself seriously its this one.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: 'Times New Roman', serif; line-height: 115%;">Since loads of marriages are falling apart, I think older people are out
there romancing and so it's a good idea to make films about that. But how to do
it? Maybe it might work to go the complete other direction: very serious, like
Hanke's Amour? Hardly a romcom, but...<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: 'Times New Roman', serif; line-height: 115%;">The specific trouble with older love is that people are more set in
their ways, more battle-scarred so it's harder to give yourself. Perhaps that's
the route to explore. I like the new sitcom "You're the Worst". It's
not about older people, but it is about cranky cranky cranky people who really
DO NOT want to be in a lovely dove relationship and yet that is what happens to
them. So, perhaps the older folks should resist more and fail more. That might
be a better vein for comedy.It's almost if the romantic comedies de nos jours had
been processed through TV and sitcoms.<o:p></o:p></span><br />
<span style="font-family: 'Times New Roman', serif; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: 'Times New Roman', serif; line-height: 115%;"><span style="color: blue;"><b>Jonas Knutsson</b></span> says: One reason [for the decline in the genre) is that
so many of the hurdles that were used to set up these plots have (mercifully)
disappeared, another being that there isn't really much of a culture of romance
these days and it's difficult to pluck these things from the ether. I believe
the writer of the British TV series "Yes, Minister" and "Yes,
Prime Minister" wrote an article, making pretty much the same point. It's
just very difficult to come up with a plausible Capulets-and-Montagues scenario
in my neck of the woods.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: 'Times New Roman', serif; line-height: 115%;">He adds that “they” did this stuff so well in the sixties and seventies:
"Two for the Road", "Pete 'n' Tillie", "Loving",
"Blume in Love". The list goes on.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: 'Times New Roman', serif; line-height: 115%;">“Pete 'n' Tillie” had some bleak moments but I think the
sixties/seventies style didn't require a light touch for every scene. As I
recall, the film had a lot of the sort of wisecracks that people make in
ordinary life.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: 'Times New Roman', serif; line-height: 115%;">A lot of the Elliot Gould flicks of the seventies would probably be
classified as "relationship flicks" today, as would "Two for the
Road".<o:p></o:p></span><br />
<span style="font-family: 'Times New Roman', serif; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: 'Times New Roman', serif; line-height: 115%;"><span style="color: blue;"><b>Frank J. Hutton</b></span> says: Probably,
romantic comedies about 40+ people are needed, since there are 40+ people
who're romantic and funny and like that sort of thing. The problem, I think, is
that most of the movies just aren't any good.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: 'Times New Roman', serif; line-height: 115%;">Thinking back, I rather enjoyed the two with Jack Nicholson -- the one
with Dianne Keaton and the other with Helen Hunt. If I recall, they seemed more
honest than not and were genuinely funny in places, not all jacked up and
shrill like most comedies are these days.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: 'Times New Roman', serif; line-height: 115%;">I'm not much for sentimental nonsense unless it's great vintage
sentimental nonsense, in which case I'm a sucker and all bets are off. Until my
late teens, I'd a definite predilection towards romantic melancholy, classic
and otherwise. I escaped it by my early 20's. For whatever reason, Two For the
Road always emblemized for me that certain yearning for repeated failure that
lurks at the heart of melancholy...It's just the one movie. There's something
about it. Probably that had something to do with by that time my parents had
divorced and then remarried each other, which 2nd time around wasn't at all for
the better. I could really wallow in that theme music and geez, Audrey Hepburn
and all...<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: 'Times New Roman', serif; line-height: 115%;">And yeah, I was wondering that about 'Two For the Road' and was
thinking, 'You mean I was scarred into an adolescence of persistent melancholic
romantic failure by a rom-com?'<o:p></o:p></span><br />
<span style="font-family: 'Times New Roman', serif; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: 'Times New Roman', serif; line-height: 115%;"><span style="color: blue;"><b>Tamara Lee</b></span> says: I recently came upon this article <a href="http://www.theatlantic.com/entertainment/archive/2014/01/the-romantic-comedy-is-dying-but-cinematic-romance-is-thriving/283252/" target="_blank">in the Atlantic </a> Romantic
Comedy is Dying<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: 'Times New Roman', serif; line-height: 115%;"> considering the end of romantic
comedies in favour of cinematic romance. Something I've noticed lately is an
increase in older women/younger man affair romances. The French Bright Days
Ahead comes to mind, but there seem to be quite a few.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: 'Times New Roman', serif; line-height: 115%;">I suppose the idea is the 40-year-old men are busy having affairs with
20 year girls, so the 40-year-old women need to also...<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: 'Times New Roman', serif; line-height: 115%;">(I love her biting humor!)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: 'Times New Roman', serif; line-height: 115%;">She includes another excellent link to a new film, about a French older
woman and an American younger man 5 to 7 and introduces the question if the
French mind the typecasting. <a href="http://themovieblog.com/2015/5-to-7-is-a-romantic-affair/" target="_blank">5 to 7</a><o:p></o:p></span><br />
<span style="font-family: 'Times New Roman', serif; line-height: 115%;"><br /></span>
<span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 200%;"><span style="color: blue;"><b>Martin
Heavisides</b></span> </span><span style="font-family: 'Times New Roman', serif; line-height: 115%;">says: If you broaden the scope a bit (which
contemporary examples, which can be called, to distinguish their
indistinguishibility, Rom Coms, generally do not) a number of quite fine films
are romantic comedies or contain elements of same.</span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="PT-BR" style="font-family: 'Times New Roman', serif; line-height: 115%;">Les Enfant du Paradis<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="PT-BR" style="font-family: 'Times New Roman', serif; line-height: 115%;">Le Roi du Coeur<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: 'Times New Roman', serif; line-height: 115%;">Harold and Maude<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: 'Times New Roman', serif; line-height: 115%;">Eternal Sunshine of the Spotless Mind<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: 'Times New Roman', serif; line-height: 115%;">Afterglow<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: 'Times New Roman', serif; line-height: 115%;">Addicted to Love<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: 'Times New Roman', serif; line-height: 115%;">Joe Versus the Volcano<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: 'Times New Roman', serif; line-height: 115%;">of which Afterglow involves over 40s in a key role, Les Enfant du
Paradis lovers who are young initially but approaching middle age when the
story ends, and Harold and Maude involves cross-generational romance with a
vengeance. But few romantic comedies are close to as odd or ambitious as these.<o:p></o:p></span><br />
<span style="font-family: 'Times New Roman', serif; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="PT-BR" style="font-family: 'Times New Roman', serif; line-height: 115%;"><span style="color: blue;">@@</span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: 'Times New Roman', serif; line-height: 115%;">After talking about it but especially after listening to these
intriguing people, I suppose that the basic answer is YES we want to explore
romance in this age and in any age, as we pass through the ages. What we want,
however, is not any romantic comedy but a romantic comedy that allows us to
recognize ourselves and others in it, appreciate the surprises and the humor
and go back to our own life films.<o:p></o:p></span></div>
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Avital Gad-Cykmanhttp://www.blogger.com/profile/16462533584127117221noreply@blogger.com2tag:blogger.com,1999:blog-4969079935303977661.post-51384081027525190972015-04-27T09:46:00.003-07:002015-04-27T09:47:40.391-07:00The odd film: Jack Goes Boating (2010) Philip Seymour Hoffman<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
Odd refers to random and also to strangeness.
Films and books about misfits attract me because I relate well to being an
outsider and repel me because usually the artist is so better fit into society
than his creations that it makes me wander if it's not patronizing or
exploration. The latter is not exactly rational: you create what you can, and
if it's not an exercise and show of skills, than it's authentic work. <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
Anyway,
This film made me miss the presence of Philip Seymour Hoffman, the
sensitive, multi-faceted actor, here a director as well, in the cinema. <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
The story sheds light on low class people who
struggle to make a living, to love despite the difficulties, temptations and
fear, and in the shy Jack and the neurotic Connie cases even to express
themselves in words. <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
Jack (Hoffman) and Clyde (Jhn Orotz) drive
limos. If at first Clyde is more social, already married, and a good friend and
Jack is a complete ill-fit everywhere. Slowly, while their friendships
strengthens, however, Jack seems to be the one who'll find true love, a better
job and happiness. <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
If it sounds a bit of a cliche, well, it is. A
bit. But it consists of many beautiful moments, exploration of intimacy and of
alienation, and everyone acts extremely well. <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
On the whole, then, it's worth watching for
what it does well. <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
Director:<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
Philip Seymour Hoffman<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
Writers (WGA):<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
Robert Glaudini (screenplay)<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
Robert Glaudini (play)<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
Cast <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
Philip Seymour Hoffman ... Jack<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
John Ortiz ... Clyde<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
Richard Petrocelli ... Uncle Frank<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
Thomas McCarthy ... Dr. Bob Thomas (as Tom
McCarthy)<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
Amy Ryan ... <span lang="PT-BR">Connie<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="PT-BR">Daphne Rubin-Vega ... Lucy<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="PT-BR">Salvatore Inzerillo ... Cannoli<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="PT-BR">And others<o:p></o:p></span></div>
Avital Gad-Cykmanhttp://www.blogger.com/profile/16462533584127117221noreply@blogger.com0tag:blogger.com,1999:blog-4969079935303977661.post-14542749074182195202015-04-05T09:19:00.003-07:002015-04-05T09:19:48.344-07:00Films you may want to watch as well: The Little House (2014) & Confessions of a Dangerous Mind (2002)I haven't written in a long long while, and maybe my followers if there have been any have dropped...<br />
But I do want to post in the blog small comments about great and small works of art, or rather, books and films.<br />
I'd love to hear about your impressions as well.<br />
<h4 class="white_header" style="background-color: #bb514b; color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px; margin-bottom: 0em;">
The Little House (2014) -A Japanese Film / Yôji Yamada</h4>
<div>
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">A beautiful film, engrossing, sensitive, and culturally informative.</span><br />
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">A woman writes a diary for her already grownup grandson. She tells about the days she worked as a maid for a couple and their little son before and during the second WW. The hierarchy between social classes comes through strongly although and maybe because she is very well treated and even loved-within class limits, also, the submissive role of women is clear. On top, good manners, bows, and apologies make you feel how wooden the people had become in their own homes. </span><br />
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">Anyway, there's also a story of infidelity, of survival, and you want it to go on, although it's quite long already.</span><br />
<br style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;" />
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">Directed by </span><br />
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">Yôji Yamada </span><br />
<br style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;" />
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">based on the novel by </span><span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">Kyôko Nakajima ...</span><br />
<br style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;" />
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">Yôji Yamada ... (screenplay) </span><br />
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">Emiko Hiramatsu ... (screenplay)</span><br />
<br style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;" />
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">Cast </span><br />
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">Satoshi Tsumabuki Satoshi Tsumabuki ... </span><br />
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">Takeshi</span><br />
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">Chieko Baishô Chieko Baishô ... </span><br />
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">Taki (older)</span><br />
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">Takako Matsu Takako Matsu ... </span><br />
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">Tokiko Hirai</span><br />
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">Yui Natsukawa Yui Natsukawa </span><br />
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">Takatarô Kataoka Takatarô Kataoka ... </span><br />
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">Mr. Hirai</span><br />
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">Haru Kuroki Haru Kuroki</span></div>
<div>
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;"><br /></span></div>
<div>
<h4 class="white_header" style="background-color: #bb514b; color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px; margin-bottom: 0em;">
Confessions of a Dangerous Mind (2002)</h4>
</div>
<div>
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">A little less successful in entertainment scripts written by Charlie Kaufman, but it's still good. (It's rumored on the Net that Kaufman disliked what director George Clooney changed in the script.) You can</span><span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;"> feel the Clooney touch, influenced by or corresponding to The Coen brothers' touch in their cutsey/smartass films (I like their other films), and by </span><span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">Soderberg, the latter mentioned by my friend</span><span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;"> </span><b style="background-color: #bb514b; color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">Jonas Knutsson. </b><b style="background-color: white; color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">HT</b></div>
<div>
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">This one is not cutesy, only smartass, which I prefer.</span></div>
<div>
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">Also, it's based on a "cult memoir of game show impresario Chuck Barris, in which he purports to have been a CIA hitman."</span><br />
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">It's enjoyable, and displays many many famous faces. </span><br />
<br style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;" />
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">Director:</span><br />
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">George Clooney</span><br />
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">Writers:</span><br />
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">Chuck Barris (book)</span><br />
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">Charlie Kaufman (screenplay)</span><br />
<br style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;" />
<br style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;" />
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">Dick Clark ... Himself</span><br />
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">Sam Rockwell ... Chuck Barris</span><br />
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">Michelle Sweeney ... J. Sweeney</span><br />
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">Drew Barrymore ... Penny</span><br />
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">Chelsea Ceci ... Tuvia, Age 8</span><br />
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">Michael Cera ... Chuck Age 8 and 11 (as Michael Céra)</span><br />
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">Brad Pitt ... Brad, Bachelor #1</span><br />
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">Matt Damon ... Matt, Bachelor #2</span><br />
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">Murray Langston ... Actual Unknown Comic</span><br />
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">Marlida Ferreira ... Woman in Pub</span><br />
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 14px;">Julia Roberts ... Patricia Watson</span></div>
Avital Gad-Cykmanhttp://www.blogger.com/profile/16462533584127117221noreply@blogger.com0tag:blogger.com,1999:blog-4969079935303977661.post-1053852455591409342014-12-30T07:23:00.001-08:002014-12-30T09:50:07.906-08:00Sorry, but this Year Can't End Before I Finish Everything I Wanted to Finish (and Start)The heavy traffic and the blazing sun of the last days of 2014 keep me in, which could be good for my numerous projects, but instead I entered various social networks and started thinking what I might have missed or left unfinished because of the many opportunities to unfocus.<br />
I'll be positive first: I finished my MA studies with a thesis about the female body in literature. I presented it in a congress in Durham University in England and had a whole week in London. (This, of course, was just for fun, which is essential.)<br />
I published my book <a href="http://matterpress.com/press/life%20in%20life%20out/" target="_blank">Life In, Life Out</a> with Matter Press and am happy with it.<br />
Lastly, I passed the PhD selection tests with a fine grade that made me feel I am not yet too old, too forgetful, too lazy or too late to accomplish stuff usually done decades earlier.<br />
I haven't finished the revision of my book, Baby Harvest, and I really want to do it before the university year starts and I'll sink deep into other books.<br />
I haven't written even close to enough, since I dedicated my time either to writing my thesis or edit, revise and review stories and books.<br />
I haven't read all the books I wish I'd have.<br />
Now, at the bottom of everything, however, and I'm sorry if I'm sentimental, there are people, real, fictional, real and fictional. REAL. Really.<br />
All in all I'm a lucky fool. The year may come and go, it's only a question of numbers. A few people will read this post, and to those who will I send my love, because this is what matters before during and after the fireworks.Avital Gad-Cykmanhttp://www.blogger.com/profile/16462533584127117221noreply@blogger.com5tag:blogger.com,1999:blog-4969079935303977661.post-14800952948267437202014-12-08T05:34:00.002-08:002014-12-08T05:51:27.000-08:00Writing about This Body and the Other: Corporeality in Three Contemporary Novels and a Short Story Collection by Women <span style="font-family: Times New Roman, serif;"><span style="font-size: 12pt; line-height: 200%;">I realize there are many questions to deal with once I turn my attention to difference, social
fragmentation and multi-ethnicity in regard to the situation
of minority, immigrant, exiled, or otherwise </span><span style="line-height: 32px;">underprivileged</span><span style="font-size: 12pt; line-height: 200%;"> women. So, my challenge is to investigate how doubly-marginalized women are affected by gender-related concepts referring
to the body, and what are the specific issues with which they deal. </span></span><br />
<span style="font-family: Times New Roman, serif;"><span style="font-size: 12pt; line-height: 200%;">Since I love literature and maybe even understand the world through it, I am going to analyze </span></span><span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 200%;">female
characters’ relationships with and through their bodies and their corporeal
manifestations of suffering, pleasure, resistance, acceptance or overcoming
problems. I want to </span><span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 200%;">analyze the characters’ different conflicts and quests --
whether for freedom, self-acceptance, equal rights or peace, among others -- in
order to point out any possible social and personal transformations. </span><br />
<span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 200%;"><b><span style="color: #134f5c;">If anyone has anything to discuss and contribute, I'd be happy to open the conversation! </span></b></span><br />
<span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 200%;">I am wondering about entering with Jewish immigrants fiction-I feel a connection to it. The books and the stories I'll probably use are these:</span><br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri;"> <i>Property</i></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri;">Valerie Martin,
a white author from the U.S.A., describes the state of women as possessions at
the time of slavery in the United States. Martin offers an original slant in
her dive into a white female slave-owner’s psyche and situation as she tells
her life story, interweaving it with her relationships with her black female
slave. While the character tries to release herself from the greedy possession
of her husband’s hold, she is unaware of repeating the pattern of ownership and
property in her own connection with the black woman. We learn about both women
only through her eyes, and the gap between what she tells and what the reader
can read out of it is more meaningful than the related facts.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri;"> <i>At the Full and Change of the
Moon:</i></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri;">The neo-slave narrative written by the Canadian author Dionne Brand,
born in the Caribbean, is the story of a Trinidadian slave and her descendants.
This tale of diaspora accompanies the family from Trinidad to Amsterdam in the
twentieth century. The novel begins in 1802 when a female slave leads a mass
suicide revolt, releasing from it only her daughter, and dies tortured yet
realized. The relationships of the daughter with her own children and the way
she leads her life involve memory, pain, hope, and unconventional behavior that
mark the future of the family. As in <i>Property</i> the author mixes
historical data with fiction. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri;"> <i>On Beauty</i> </span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri;"> Zadie Smith,
an English author, the daughter of a Jamaican mother and an English father,
writes about the intertwined lives of two families. The family living in the
U.S.A consists of a white Englishman, his African-American wife, and their
three children. The other family, husband, wife and two children, are
Trinidadians living in England. Both men are academics and rivals. The families
end up living in the same town in the USA, and the women become close and change the families’ relationships. Interracial relationships, culture gaps, the academy and
its effect on the characters’ lives bring out the difference and the sameness in
the characters’ expectations and the way they perceive themselves and the
world. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="font-family: 'Times New Roman', serif; font-size: 16px; line-height: 32px;">The Interpreter of Maladies</i></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri;"> Jhumpa Lahiri, born in India and
living in the United States, introduces relationships involving ethnicity, class, postcolonial issues, and stereotypes.
In the story “Sexy” a white woman from Boston has an affair with an Indian man
and a friendly relationship with an Indian female co-worker. A parallel line of
infidelity stretches between the story of the co-worker’s cousin’s failed
marriage and the affair the Bostonian has with the Indian man. In “The
Treatment of Bibi Haldar” a young Indian woman, employed and exploited by her
wealthy cousin and husband, becomes sick. While the community puts a pressure
to marry her, the couple refuses to let her go. When they end-up shunning her,
out of fear for their baby, she becomes pregnant from an unknown man and is
fully recovered.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri;">I hope to speak about the bodily issue involved in the women's perception of their selves. There is more to say, but I'll do it in another post.</span></div>
<div>
<div id="edn1">
</div>
</div>
Avital Gad-Cykmanhttp://www.blogger.com/profile/16462533584127117221noreply@blogger.com0tag:blogger.com,1999:blog-4969079935303977661.post-87216177582166684132014-11-28T03:48:00.001-08:002022-01-12T12:37:22.007-08:00Life In, Life Out, my first book, a flash collection published by Matter Press <div>
<img alt="Life In Life Out" src="http://matterpress.com/wp-content/uploads/2014/10/Life-In-Life-Out.jpg" height="640" width="494" /></div>
<div>
<b>Previous publications of flashes from the book include:</b></div>
<div>
<br /></div>
<div>
<b>In Print</b></div>
<div>
<br /></div>
<div>
<a href="http://books.wwnorton.com/books/Flash-Fiction-International/" target="_blank"><b><span style="color: black;">W.W. Norton Flash Fiction International Fire. Water along with stories by Nobel Prize winner Czeslaw Milosz, Etgar Keret and Shabnam Nadiya</span></b></a></div>
<div>
<b><br /></b></div>
<div>
<b><a href="http://www.amazon.com/dp/0955282934/ref=as_sl_pd_tf_lc?tag=worrio-20&camp=14573&creative=327641&linkCode=as1&creativeASIN=0955282934&adid=0KKR7W123C362T97CV69&&ref-refURL=http%3A%2F%2Fwww.wordriot.org%2Ftemplate_2.php%3FID%3D1177" target="_blank">The Flash: a Flash Fiction Anthology (UK) Major Chaos published along with stories by Rick Moody, Steve Almond and others</a></b></div>
<div>
<b><br /></b></div>
<div>
<b><a href="http://www.chester.ac.uk/flash.magazine" target="_blank">Flash: The International Short-Short Story Magazine at Chester University UK: Boxing</a></b></div>
<div>
<b><br /></b></div>
<div>
<b><a href="http://thegiganticmag.com/magazine/" target="_blank">Gigantic: Out of Order along with stories by Lydia Davis and Ottessa Moshfegh</a></b></div>
<div>
<b><br /></b></div>
<div>
<b>The Los Angeles Review: The Bison</b></div>
<div>
<b><br /></b></div>
<div>
<b>Prism International (Canada): Once a Month We Play</b></div>
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<b><br /></b></div>
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<b>On Line</b></div>
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<b><a href="http://www.smokelong.com/flash/1108.asp" target="_blank">Smokelong Quarterly: Fire. Water. (Anthologized in W.W. Norton Anthology)</a></b></div>
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<b><br /></b></div>
<div>
<b><a href="http://www.salon.com/2001/01/09/color_2/" target="_blank">The Future of Color in Salon.com</a></b></div>
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<b><br /></b></div>
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<span style="color: black;"><a href="http://www.salon.com/2000/05/11/perfect/" target="_blank"><b>Salon.com: Perfect for This World</b></a></span></div>
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<div>
<b>More:</b></div>
<b>“Crystal and Gold” in NOÖ Journal;</b><br />
<b>“Nature” </b><b>in 3:AM;</b><br />
<b>“Running Away Diary” in Portland Magazine</b><br />
<b>& Dragons with Cancer Anthology ;</b><br />
<b>“String Theory” in The </b><b>Journal of Compressed Creative Arts;</b><br />
<b>“Get DownTo It” in </b><b>NANO Fiction;</b><br />
<b>“Soap” in The Salt River Review;“</b><br />
<b>“Somewhere Station” in Eclectica;</b><br />
<b>“The Spirit of His Will” in Absinthe Review;</b><br />
<b>“Wings” in </b><b>Pindeldyboz;</b><br />
<b>“Sudden Changes” in Happy and Pig Iron Malt, </b><b>Web Del Sol;</b><br />
<b>“Tiny Love Stories” in Dispatch;</b><br />
<b>“Unless” </b><b>in Corium Magazine;</b><br />
<b>“A Narrow Bridge” in EveryWriter </b><b>Resource; </b><br />
<b> “About My Life Length” in Quick Fiction.</b><br />
<b><br /></b><b></b>
<b>Photography and cover design byVered Navon.</b>Avital Gad-Cykmanhttp://www.blogger.com/profile/16462533584127117221noreply@blogger.com0tag:blogger.com,1999:blog-4969079935303977661.post-76138639248600090452014-11-24T07:15:00.000-08:002014-11-24T15:35:59.386-08:00Gender Trouble: Feminism and the Subversion of Identity By Judith Butler<div style="text-align: center;">
<img 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" /></div>
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<span lang="EN-US">Judith Butler’s Gender Trouble has been one of
the most cited and influential texts in gender studies since its publication in
1990. Butler introduces problems resulting from the identification of gender
with the biological difference between men and women, analyses the power
relations in the basis of the concept of gender, describes methods of controls
and suggests that deconstruction can lead to change. <o:p></o:p></span></div>
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<span lang="EN-US">According to the scholar, gender-based
classification is constructed by discourse with the objective of recreating
hegemonic paradigms and perpetuating current power relations. Former feminists
have noted the importance of exposing the interests behind conventions. Butler
goes further: defining Women and Men as universal categories disguises the
interest it serves. <o:p></o:p></span></div>
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<span lang="EN-US">She writes, “Signification is not a founding
act, but rather a regulated process of repetition that both conceals
itself and enforces
its rules precisely
through the production
of substantializing effects” (185). She states that analysis (or
deconstruction) provides tools for the socially oppressed to fight against the
existing social order.<o:p></o:p></span></div>
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<span lang="EN-US"> In the
author’s view, the category of Women from which the feminist struggle arises is
different from the political, hierarchical myth based on biology. The
assumption that there is a pre-discursive body with a pre-determined sexuality
and gender sustains oppression against subjugated and marginalized subjects.
Disconnected from the body, she suggests, gender can include more than two
versions.<o:p></o:p></span></div>
<br />
<div class="MsoNormal">
<span lang="EN-US"> In the first chapter, titled
“Subjects of Sex, Gender, Desire”, Butler introduces woman as a subject of
feminism and distinguishes between sex and gender. In the second she discusses
heterosexuality within psychoanalytical and structuralist theories. Lastly,
“Subversive bodily acts” deals with the category of biological sex and ends
with Butler’s theory of gender-related performance and performativity.<o:p></o:p></span></div>
</div>
Avital Gad-Cykmanhttp://www.blogger.com/profile/16462533584127117221noreply@blogger.com0tag:blogger.com,1999:blog-4969079935303977661.post-38413631247188035662014-11-12T10:32:00.002-08:002014-11-13T08:36:29.780-08:00The body is intriguing<div class="MsoNormal">
The body is
intriguing because it is material and it isn’t. It appears to be us, but only in
part. People have distinguished between body and mind ever since the times of Plato if not earlier. The split is convincing, even tempting, because there are huge conflicts
between our urges and our rational, disciplined self. We could divide them
neatly: the urges belong with the body
and the rational self with the mind. But things are never that tidy. For
instance: so much is going on in the brain, commands, actions and reactions as
it absorbs messages, makes assumptions and adjusts and adapts and alters, making
the world a comprehensive place and fitting us into it as much as possible, it doesn't seem physical. <o:p></o:p></div>
<div class="MsoNormal">
And yet, as any
brain surgeon will testify, the brain is a part of the body. With its cerebral processes, it also has a
concept of the body, influenced by all the messages it has ever absorbed and
assimilated, accepted and resisted. <o:p></o:p></div>
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It is not
easy to live with our bodies, because the concept of the body in closely weaved
into it. Women, for instance, strive to be attractive, because otherwise, the
media tells us, we become invisible. We also struggle to appear young, as most famous,
aging women, our role models, set an example when they go through plastic
surgeries and look eternally fresh. Else, we need to seem strong since the
women who are not attractive or young, and/or those who want to make a
difference, have to be steeled to face a world of preconceived feminine characteristics.
Beyond that, even fun and pleasure suffer. Our sexuality needs to be of a
certain kind, repressed into a mold that is hard to change. <o:p></o:p></div>
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When I went
through preemptive surgeries to prevent ovarian and breast cancer, I became
aware of the contradictory feelings related to the body: guilt and shame,
pleasure and pain, and changing body image. Things were set in motion as I started
thinking about them. I went on and wrote an MA thesis about the female body in
literature written by women. <o:p></o:p></div>
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I admire
the action of brave women who expose their body with its mastectomy scars, like <a href="http://www.nytimes.com/2014/11/08/arts/going-topless-tig-notaro-takes-over-town-hall.html?emc=edit_th_20141108&nl=todaysheadlines&nlid=23050957&_r=0" target="_blank">Tig Notaro</a> or stand naked in performances like <a href="http://themusic.com.au/news/all/2013/07/14/amanda-palmer-gets-naked-in-response-to-daily-mail-nipple-story/" target="_blank">Amanda Palmer</a> to live their vulnerability and seek provocation and change. We
read about them because they are the exception, which is a shame. The times are a changing as Bob Dylan says since 1964 <a href="http://www.youtube.com/watch?v=e7qQ6_RV4VQ" target="_blank">in this great song</a>, but maybe they don't change enough. However, change is constant, and the body is never
dull. </div>
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<o:p></o:p></div>
Avital Gad-Cykmanhttp://www.blogger.com/profile/16462533584127117221noreply@blogger.com2tag:blogger.com,1999:blog-4969079935303977661.post-79309001157351887752014-11-10T14:48:00.000-08:002014-11-10T15:04:24.186-08:00Bodies That Matter: On the Discursive Limits of "Sex" by Judith Butler<h3>
<span style="background-color: white;"><span style="font-family: inherit; line-height: 18px;"> </span></span><a href="http://covers.powells.com/9780415903660.jpg" imageanchor="1" style="color: #660000; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 15px; line-height: 21.5599994659424px; margin-left: 1em; margin-right: 1em; text-align: center; text-decoration: none;"><img border="0" src="http://covers.powells.com/9780415903660.jpg" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0980392) 1px 1px 5px; background: transparent; border: 1px solid rgb(102, 0, 0); box-shadow: rgba(0, 0, 0, 0.0980392) 1px 1px 5px; padding: 8px; position: relative;" /></a></h3>
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In Bodies that Matter Judith Butler replies to the criticism of her earlier book Gender Trouble. She argues with the feminist thinkers who see the body as matter--a material body with a sexual specification. According to her the body does not exist beyond a cultural construction. It serves as a site for the feminist theory independently of such a pre-discursive definition. In her introduction she explains:<o:p></o:p></div>
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For surely bodies live and die; eat and sleep; feel pain, pleasure; endure illness and violence; and these “facts,” one might skeptically proclaim, cannot be dismissed as mere construction. […] But their irrefutability in no way implies what it might mean to affirm them and through what discursive means. Moreover, why is it that what is constructed is understood as an artificial and dispensable character? <span lang="PT-BR">(xi).<o:p></o:p></span></div>
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The construction of bodies is a constitutive constraint, and bodies are understood through it. She states again that both body and gender are parts of discourse. The only way to reach the matter beyond discourse is through discourse itself. After all, it is the discourse that defines the body as a matter existing beyond it. Inspired by Foucault, she contends that discourse is based on power relations and manipulated by those who control the sources of knowledge. The definition of what is natural is manipulated as well. Henceforth, the materiality of the body is discursive. The material body, its boundaries and its sexuality, materialize through the repetition of policing norms. The norms attribute meaning to it. Even the body limits are the product of social codes according to which certain practices are allowed and others are not.Butler goes back to the concept of performativity and confirms that repeatedly performed acts normalize an attributed gender, as well as marks of race, class and sexuality. Discourse defines certain bodies as natural, thus marginalizing others. This alludes to the fact that the accepted body does not owe it to its biological characteristics but to cultural signs. Based on Luce Iragaray’s Lacanian analysis, Butler also investigates the political coherence for which certain bodies are not legitimized. Through her own and Iragaray’s analysis of Platos’ work Timaeus, she reaches the conclusion that the marginalized bodies are related to homosexuality. She concludes that deconstruction cannot be based on already constituted references. <span lang="PT-BR">Only a truly open debate can bring change.<o:p></o:p></span></div>
<span style="background-color: #eeddcc; color: #662222; font-family: inherit; font-size: 15px; line-height: 21.5599994659424px;"><span style="background-color: white; color: #181818; font-size: 14.3999996185303px; line-height: 18px;"><a href="http://www.powells.com/biblio/9780415903660" style="color: #660000; text-decoration: none;" target="_blank">Bodies that Matter at Powell`s</a></span></span><br />
<span style="background-color: #eeddcc; color: #662222; font-family: inherit; font-size: 15px; line-height: 21.5599994659424px;"><a href="http://www.amazon.com/Bodies-That-Matter-Discursive-Limits/dp/0415903661" style="color: #660000; text-decoration: none;" target="_blank">At Amazon</a></span><br />
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Avital Gad-Cykmanhttp://www.blogger.com/profile/16462533584127117221noreply@blogger.com2tag:blogger.com,1999:blog-4969079935303977661.post-75230391428133453492014-11-07T04:02:00.001-08:002014-11-10T15:03:46.450-08:00Books I've Read:Property by Valerie Martin<br />
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In <i>Property</i>, a book by the excellent writer Valerie Martin (<i>The Confessions of Edward Day, Italian Fever</i>), the author describes the state of women as possessions at the time of slavery in the United States. She offers an original slant in her dive into a white female slave-owner’s psyche and situation as this woman, Manon, tells her life story, interweaving it with her relationships with her black female slave, Sarah. While Manon tries to release herself from the greedy possession of her husband’s hold, she is unaware of repeating the pattern of ownership and property in her own connection with Sarah. She goes as far as seeing Sarah as her enemy due to the abusive sexual behavior of her own husband, although neither she nor the slave have any power to confront and resist him. The author doesn't give us any easy solutions, only a view of the meaning of human property and how it destroys lives. We learn about both women only through her eyes, and the gap between what she tells and what the reader can read out of it is more meaningful than the related facts.<o:p></o:p></div>
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The book is slim, well-written and fast going. </div>
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<a href="http://www.powells.com/biblio/62-9780349138961-0" style="color: #660000; text-decoration: none;" target="_blank">Property on powells</a></div>
<a href="http://www.amazon.com/Property-Valerie-Martin/dp/0375713301/ref=sr_1_2?ie=UTF8&qid=1415361402&sr=8-2&keywords=valerie+martin" style="background-color: #eeddcc; color: #660000; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 15px; line-height: 21.5599994659424px; text-decoration: none;" target="_blank">Property on Amazon</a>Avital Gad-Cykmanhttp://www.blogger.com/profile/16462533584127117221noreply@blogger.com2tag:blogger.com,1999:blog-4969079935303977661.post-67377038998912853252014-11-05T05:35:00.003-08:002014-11-07T04:29:09.360-08:00My blog's birthdayThis is my blog's birthday, and now we start counting the days...<br />
I am also counting the days until the copies of my book will arrive in Brazil. It's a long travel from the US. I'll let you know when they are here and the link to the book goes live.<br />
I am going to ask my cinema savvy friends if they agree to appear here for a conversation about the movies. I am also going to ask my writer friends if they'd like me to feature their books. I may post here about the female body in literature written by women, and probably, the female body as written by/in the world, an interest I hope to share with many others.<br />
<br />Avital Gad-Cykmanhttp://www.blogger.com/profile/16462533584127117221noreply@blogger.com11