La imaginació pornogràfica /

Article extret de 'Styles of radical will' (Nova York 1978) datat el 1967Sobre la literarietat de la literatura pornogràfica. Revisió dels conceptes de pornografia i literatura i dels prejudicis crítics que suposa la relació entre els dos conceptes. Estudi de la pornografia com a literatura partint de les novel·les citades

Centro artístico cultural “nencatacoa” “la integración social, artística y cultural de la zona”

Artículo de GradoGenerando así lugares de encuentro y formación frente a cualificación de competencias básicas en beneficio a las organizaciones y agentes culturales locales, a partir de un análisis de planimetría y normativa junto a la observación física del lugar y una revisión de referentes para las diferentes escalas de proyecto.1. Introducción 2. Metodología 3. Resultados 4. Discusión 5. Conclusiones 6. Referencias 7. AnexosPregradoArquitect

Pictures of the past : Benjamin and Barthes on photography.

This paper explores the key moments in Benjamin’s and Barthes’s analyses of the cultural significance of the photograph. For Benjamin these are; the optical unconscious, the transmission of aura, the representation of cultural and political decay and proto-surrealist political commentary. For Barthes they are; the techniques of the photographer, the studium, the punctum and the ecstasy of the image. These rather different approaches to photography reveal a common concern with history. Both authors have written about the nature of historical understanding and photography has provided both with a powerful metaphor. What emerges from their analyses of photographs is that each evokes a double moment of historical awareness; of being both in the present and in the past. For Benjamin this is the ‘spark of contingency’ with which the aura of past existence shines in the present. For Barthes it is the ‘ça-a-été’, the emotional stab of awareness that what is present and visible in the photograph is irretrievably lost in the past

Ways of Seeing: Sexism the Forgotten Prejudice?

Recent developments in feminism, charted in Gender, Place and Culture over the past 21 years, have stressed the relational, differentiated and contested nature of gender. This has led to the rejection of the unified category women, and with this the right for feminism to make claims on behalf of all women. This paper argues that an unintended consequence of this development in ways of thinking about gender is that patriarchy as a form of power relations has become relatively neglected. It draws on research from a European Research Council project (including biographical interviews and case studies of a gym and workplace) to demonstrate that while the development of equality legislation has contained the public expression of the most blatant forms of gender prejudice, sexism persists and is manifest in subtle ways. As a consequence, it can be difficult to name and challenge with the effect that patriarchy as a power structure which systematically (re)produces gender inequalities,is obscured by its ordinariness. Rather, sexism appears only to be ‘seen’ when it affords the instantiation of other forms of prejudice, such as Islamophobia. As such, we argue that Gender, Place and Culture has a responsibility going forward to make sexism as a particular form of prejudice more visible, while also exposing the complexity and fluidity of its intersectional relationship to other forms of oppression and social categories

Overlapping Agencies: The Collision of Cancer, Consumers, and Corporations in Richard Powers’s Gain

Richard Powers\u27s 1998 novel Gain establishes a complicated relationship between its two main characters, a corporation called Clare International and suburban mom named Laura Bodey. Readers, assuming the malignity of such corporations, mistake the hints Laura encounters that Clare is responsible for her ovarian cancer for facts. Such readings overlook the science of ovarian cancer as well as how Powers depicts Laura\u27s relation to her disease. I analyze Laura\u27s understudied half of the novel, framing it as a cancer narrative that reworks conventions of that genre. In placing her cancer in broad social and environmental contexts, Powers eschews the individualist strain that characterizes many illness narratives. In so doing, the novel demands engagement with consumer agency and bodily frailty in the face of corporate dominance