As Estruturas Elementares do Parentesco, de Claude Lévi-Strauss

Tradução do texto “Les Structures Élémentaires de la Parenté, par Claude Lévi-Strauss”. publicado originalmente na revista Les Temps Modernes, em 1949

«Jusqu’à nos désirs, jusqu’aux formes de notre plaisir»: feminism’s development in Les Temps modernes

Les Temps Modernes has been a basic ground for the growth both of the second-wave feminism and of the third-wave one, and has skaken old roles also by questioning traditional longings, as some writings we can (re)read here show: several remarks by Simone de Beauvoir, an article by Colette Audry, an issue of the column Le Sexisme ordinaire.Les Temps Modernes ha offerto sia al femminismo dell’emancipazione sia a quello della differenza un fondamentale terreno di crescita, e ha scosso gli antichi ruoli rimettendo in discussione i desideri tradizionali; come mostrano gli scritti che possiamo (ri)leggere qui: alcune riflessioni di Simone de Beauvoir, un articolo di Colette Audry, un numero della rubrica Le Sexisme ordinaire

Katie Mitchell: feminist director as pedagogue

An Actor Prepares relates the reciprocal dialogue between teacher–director and actor to offer a pedagogical enquiry that moves beyond methodology to focus on the learning exchange. In the first decades of the twentieth century teacher–directors, predominantly male, were responsible for developing theatrical pedagogies. In the twenty-first century, it is rare to focus on the director as pedagogue or attend to the complex learning exchange between director and actor. Furthermore, curriculums continue to be dominated by predominantly male lineages. Yet a focus on pedagogical approaches allows us to look behind methodologies, what an actor does, to consider how an actor learns. What might a gendered consideration of rehearsal practices reveal about the particular features of acting pedagogy? How do feminist interventions reconsider aspects of Stanislavski’s approach? I turn to the developed pedagogy of Katie Mitchell to examine her work as a form of écriture féminine which creates a post-Stanislavski schooling for actors. Applying a methodology for observing pedagogic practice in the rehearsal room that has been developed over four years of research I consider her approach, drawing upon two extended interviews, observations across four rehearsal processes and interviews with the actors involved. I reflect on her process through a gendered lens as an evolved form of method of physical action, which I re-orientate as a method of feminist action. The particular features of this pedagogy map Mitchell’s contribution to developing twenty-first century actor training from a feminist position

Trivial Tasks that Consume a Lifetime: Kierkegaard on Immortality and Becoming Subjective

S. Kierkegaard argued that our highest task as humans is to realize an “intensified” or “developed” form of subjectivity—his name for self-responsible agency. A self-responsible agent is not only responsible for her actions. She also bears responsibility for the individual that she is. In this paper, I review Kierkegaard’s account of the role that our capacity for reflective self-evaluation plays in making us responsible for ourselves. It is in the exercise of this capacity that we can go from being subjective in a degraded sense—merely being an idiosyncratic jumble of accidental and arbitrary attitudes and affects—to being a subject in the ideal or eminent sense. The latter requires the exercise of my capacity for reflective self-evaluation, since it involves recognizing, identifying with, and reinforcing those aspects of my overall make-up that allow me to express successfully a coherent way of being in the world. Kierkegaard argues that taking immortality seriously is one way to achieve the right kind of reflective stance on one’s own character or personality. Thus, Kierkegaard argues that immortality as a theoretical posit can contribute to one’s effort to own or assume responsibility for being the person one is

Leading ladies: discursive constructions of women leaders in the UK media

Women continue to be economically disadvantaged and under-represented in positions of power and leadership. A discursive disjunction between cultural and media representations of women and leadership has been implicated in these continuing inequalities. We address this issue through an analysis of the ways in which prominent women leaders were portrayed in a UK radio series, BBC Radio 4’s “Profile” broadcast between July 2011 and July 2013. Verbatim transcripts of 12 broadcasts featuring women were analysed within a critical feminist framework, to explore the ways in which these women leaders were discursively constructed. Our analysis explicates three constructions of “women leaders”: as “traditionally” feminine; as having to balance “masculine” and “feminine” attributes; and as exceptional women who may nevertheless fail. We conclude that the impact of equality legislation continues to be limited while androcentric norms prevail and that we therefore need more gynocentric ways of imagining women leaders

Male gays in the female gaze: women who watch m/m pornography

This paper draws on a piece of wide-scale mixed-methods research that examines the motivations behind women who watch gay male pornography. To date there has been very little interdisciplinary research investigating this phenomenon, despite a recent survey by PornHub (one of the largest online porn sites in the world) showing that gay male porn is the second most popular choice for women porn users out of 25+ possible genre choices. While both academic literature and popular culture have looked at the interest that (heterosexual) men have in lesbian pornography, considerably less attention has been paid to the consumption of gay male pornography by women. Research looking at women's consumption of pornography from within the Social Sciences is very focused around heterosexual (and, to a lesser extent, lesbian) pornography. Research looking more generally at gay pornography/erotica (and the subversion of the ‘male gaze’/concept of ‘male as erotic object’) often makes mention of female interest in this area, but only briefly, and often relies on anecdotal or observational evidence. Research looking at women's involvement in slashfic (primarily from within media studies), while very thorough and rich, tends to view slash writing as a somewhat isolated phenomenon (indeed, in her influential article on women's involvement in slash, Bacon-Smith talks about how ‘only a small number’ of female slash writers and readers have any interest in gay literature or pornography more generally, and this phenomenon is not often discussed in more recent analyses of slash); so while there has been a great deal of very interesting research done in this field, little attempt has been made to couch it more generally within women's consumption and use of pornography and erotica or to explore what women enjoy about watching gay male pornography. Through a series of focus groups, interviews, and an online questionnaire (n = 275), this exploratory piece of work looks at what women enjoy about gay male pornography, and how it sits within their consumption of erotica/pornography more generally. The article investigates what this has to say about the existence and nature of a ‘female gaze’