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86-46317 PN 56. F46D4 1987 80 I 'AI ISBN 0-253-35853-1 ISBN 0-253-20441-0 (pbk.) 56789695 For her who rides the chariot of the sun CONTENTS PREFACE 1. The Technology of Gender 2. The Violence of Rhetoric: Considerations on Representation and Gender 3. Gaudy Rose: Eco and Narcissism 4. Calvino and the Amazons: Reading the (Post)Modern Text 5.
Gramsci Notwithstanding, or, The Left Hand of History 6. Fellini's 9'12 7. Strategies of Coherence: Narrative Cinema, Feminist Poetics, and Yvonne Rainer 8. Rethinking Women's Cinema: Aesthetics and Feminist Theory INDEX OF NAMES IX 1 31 51 70 84 95 107 127 149 PREFACE The essays here collected, except one, were written between 1983 and 1986. Like the book I wrote immediately before them, Alice Doesn't: Feminism, Semiotics, Cinema (1984), and which to a large extent constitutes their theoretical framework, these essays also carryon an argument by means of textual readings. In some, a novel or a film is read through theory, that is, by taking a particular issue or assumption in theoretical discourse as magnifying glass in order to refocus the reading around questions of gender representation.
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In other essays, the reading of a fictional, filmic, or critical text provides the occasion to articulate a theoretical problem or to engage with a current critical debate. All but the first essay were originally written as lectures, conference papers, or special-issue contributions, and because the context of address is a very important aspect of any piece of critical writing, a short note at the head of each essay will identify the occasion of its writing. While all of the essays are centrally concerned with gender, the first one, 'The Technology of Gender,' specifically poses the question of how to theorize gender beyond the limits of 'sexual difference' and the constraints that such a notion has come to impose on feminist critical thought. The essay takes its title and its conceptual premise from Foucault's theory of sexuality as a 'technology of sex' and proposes that gender, too, both as representation and as self-representation, is the product of various social technologies, such as cinema, as well as institutional discourses, epistemologies, and critical practices; by that I mean not only academic criticism, but more broadly social and cultural practices. Going past Foucault. Whose critique of the technology of sex does not take into account its differential solicitation of male and female subjects, or the conflicting investments of men and women in the discourses and practices of sexuality, the essay then considers the potential of Althusser's theory of ideological interpellation with regard to an understanding of gender as (self-)representation. It then argues that contemporary work in feminist theory goes further in defining the female-gendered subject as one that is at once inside and outside the ideology of gender: the female subject of feminism is one IX x PreJace constructed across a multiplicity of discol,trses.