45,651 matches
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600"] Alexandra Horghidan, No title, 2014.[/caption] Women’s agency exists, therefore, only within this hegemonic identity and seldom outside it. The discourse of women’s empowerment by means of embracing the hypersexualized “emancipatory” identity urges women to be “masters of their own status, but never question it.”[3] The politics of seduction is therefore “one of the means by which society perpetuates male sexual domination and makes women passive,”[4] creating two poles of identity: the woman-object of deșire versus
Patriarhatul, mașina de vise. Metamorfoză și hipersexualizare () [Corola-website/Science/295778_a_297107]
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therefore, only within this hegemonic identity and seldom outside it. The discourse of women’s empowerment by means of embracing the hypersexualized “emancipatory” identity urges women to be “masters of their own status, but never question it.”[3] The politics of seduction is therefore “one of the means by which society perpetuates male sexual domination and makes women passive,”[4] creating two poles of identity: the woman-object of deșire versus the male-subject, ăn active agent. One of the main effects of
Patriarhatul, mașina de vise. Metamorfoză și hipersexualizare () [Corola-website/Science/295778_a_297107]
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identity urges women to be “masters of their own status, but never question it.”[3] The politics of seduction is therefore “one of the means by which society perpetuates male sexual domination and makes women passive,”[4] creating two poles of identity: the woman-object of deșire versus the male-subject, ăn active agent. One of the main effects of mass culture is the uniformization and alienation of individuals who do not adhere to mainstream discourse.[5] The objectification of the woman, her
Patriarhatul, mașina de vise. Metamorfoză și hipersexualizare () [Corola-website/Science/295778_a_297107]
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of seduction is therefore “one of the means by which society perpetuates male sexual domination and makes women passive,”[4] creating two poles of identity: the woman-object of deșire versus the male-subject, ăn active agent. One of the main effects of mass culture is the uniformization and alienation of individuals who do not adhere to mainstream discourse.[5] The objectification of the woman, her constant depiction aș mere sex object - a pleasure provider and trophy for men - prevents her development în
Patriarhatul, mașina de vise. Metamorfoză și hipersexualizare () [Corola-website/Science/295778_a_297107]
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remains a product of social influence, and this reconnecting will most likely remain a “guideline” for what the female self must be like within this mechanism. The objectification of women, although currently present under new guises, remains a classical symbol of patriarchy. From the “deification” of feminine beauty between symbol of divine purity (the Virgin) and source of temptation (the seductress, Eve), the metamorphic evolution of patriarchy reinvents beauty under the guise of gender equality, leaving unchanged the basic elements which
Patriarhatul, mașina de vise. Metamorfoză și hipersexualizare () [Corola-website/Science/295778_a_297107]
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influence, and this reconnecting will most likely remain a “guideline” for what the female self must be like within this mechanism. The objectification of women, although currently present under new guises, remains a classical symbol of patriarchy. From the “deification” of feminine beauty between symbol of divine purity (the Virgin) and source of temptation (the seductress, Eve), the metamorphic evolution of patriarchy reinvents beauty under the guise of gender equality, leaving unchanged the basic elements which reinforce and reproduce specific relations
Patriarhatul, mașina de vise. Metamorfoză și hipersexualizare () [Corola-website/Science/295778_a_297107]
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most likely remain a “guideline” for what the female self must be like within this mechanism. The objectification of women, although currently present under new guises, remains a classical symbol of patriarchy. From the “deification” of feminine beauty between symbol of divine purity (the Virgin) and source of temptation (the seductress, Eve), the metamorphic evolution of patriarchy reinvents beauty under the guise of gender equality, leaving unchanged the basic elements which reinforce and reproduce specific relations of domination. The woman remains
Patriarhatul, mașina de vise. Metamorfoză și hipersexualizare () [Corola-website/Science/295778_a_297107]
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feminine beauty between symbol of divine purity (the Virgin) and source of temptation (the seductress, Eve), the metamorphic evolution of patriarchy reinvents beauty under the guise of gender equality, leaving unchanged the basic elements which reinforce and reproduce specific relations of domination. The woman remains caught between two conflicting identities: 1) the woman who, în relation to the mân, is reduced to “erotic object, stimulus and satisfaction of deșire, the warranty of male stability, the prize which acknowledges his efforts, the
Patriarhatul, mașina de vise. Metamorfoză și hipersexualizare () [Corola-website/Science/295778_a_297107]
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the expression of his virility”[6] and 2) the woman fulfilling a family role, therefore chaste, sacred, embodying the purity and beauty of creation. În other words, the trophy-hypersexuality and the passive availability of woman versus beauty aș a symbol of purity and maternity. Beauty is therefore created aș a typically feminine attribute: “The woman is (beautiful), while the mân is în a process of becoming șo. This is why the mân hâș to earn his beauty through actions and ideas
Patriarhatul, mașina de vise. Metamorfoză și hipersexualizare () [Corola-website/Science/295778_a_297107]
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and ideas, while the woman rests în her own beauty, caught up în her own complacency.”[7] The woman’s attractiveness represents the supreme blessing which exempts her from the “burden” of an active, creative status: “She is not capable of creating beauty, but she embodies it.”[8]</a> [...] [1] Isabel de la Torre, M. Ortega, J.Sebastian, El trazo y la palabra. Humorismo grafico y estereotipos sociales de mujeres, ” Las mujeres en la opinion publică”, Inst. Univ. De Estudios de la Mujer
Patriarhatul, mașina de vise. Metamorfoză și hipersexualizare () [Corola-website/Science/295778_a_297107]
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LGBT în contextul social și cultural românesc. [caption id="attachment 1528" align="aligncenter" width="600"] Alexandra Horghidan, Fără titlu, 2014.[/caption] În the Western world of the 20th century, the feminist and sexual revolutions paved the way for the liberation movements of sexual and gender minorities. Women’s place în society, sexuality, gender identity and sexual orientation are all reevaluated and redefined from new, emancipating perspectives. Within feminist movements, aș well aș within those for LGBT rights, one can notice the development
Artă, gen, sexualitate () [Corola-website/Science/295787_a_297116]
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ideas surfaced în the 19th century, but în the absence of a powerful, radical feminist movement, women’s place în society hâș continued to be violently regulated by patriarchal structures even after 1989. At the same time, the public presence of LGBT communities is still în its infancy, în a period of coagulating identities and resisting multiple forms of oppression and exclusion în a context where homosexuality was only decriminalized în 2001. For the most part, the current cultural-artistic scene reproduces
Artă, gen, sexualitate () [Corola-website/Science/295787_a_297116]
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a powerful, radical feminist movement, women’s place în society hâș continued to be violently regulated by patriarchal structures even after 1989. At the same time, the public presence of LGBT communities is still în its infancy, în a period of coagulating identities and resisting multiple forms of oppression and exclusion în a context where homosexuality was only decriminalized în 2001. For the most part, the current cultural-artistic scene reproduces the mainstream discourses on gender and sexuality, and representations remain mostly
Artă, gen, sexualitate () [Corola-website/Science/295787_a_297116]
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the current cultural-artistic scene reproduces the mainstream discourses on gender and sexuality, and representations remain mostly anchored în a sexist and heteronormative reality. Issue #6 of the Gazeta de Artă Politică investigates artistic projects and theoretical approaches on the position of women, gay sexuality and gender identity, analyzed în a queer feminist key originating în left-wing political thought. This issue focuses on România, where the feminist and queer art scenes are starting to take shape. Without aiming to cover all aspects
Artă, gen, sexualitate () [Corola-website/Science/295787_a_297116]
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women, gay sexuality and gender identity, analyzed în a queer feminist key originating în left-wing political thought. This issue focuses on România, where the feminist and queer art scenes are starting to take shape. Without aiming to cover all aspects of a certain topic, GAP #6 brings to the forefront a series of projects and theoretical reflections which make visible: - Marginalized discourses on sexual orientation and gender identity, approached from an angle which is critical of mainstream heteronormative discourses; - The critique
Artă, gen, sexualitate () [Corola-website/Science/295787_a_297116]
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originating în left-wing political thought. This issue focuses on România, where the feminist and queer art scenes are starting to take shape. Without aiming to cover all aspects of a certain topic, GAP #6 brings to the forefront a series of projects and theoretical reflections which make visible: - Marginalized discourses on sexual orientation and gender identity, approached from an angle which is critical of mainstream heteronormative discourses; - The critique of public, consumerist representations which privilege the hyper-sexualized image of the “woman-as-appendage
Artă, gen, sexualitate () [Corola-website/Science/295787_a_297116]
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aiming to cover all aspects of a certain topic, GAP #6 brings to the forefront a series of projects and theoretical reflections which make visible: - Marginalized discourses on sexual orientation and gender identity, approached from an angle which is critical of mainstream heteronormative discourses; - The critique of public, consumerist representations which privilege the hyper-sexualized image of the “woman-as-appendage”, visible only if she displays her sexuality; - Sexual education from a feminist perspective; - Feminist discourses în art which criticize the patriarchal domination within
Artă, gen, sexualitate () [Corola-website/Science/295787_a_297116]
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a certain topic, GAP #6 brings to the forefront a series of projects and theoretical reflections which make visible: - Marginalized discourses on sexual orientation and gender identity, approached from an angle which is critical of mainstream heteronormative discourses; - The critique of public, consumerist representations which privilege the hyper-sexualized image of the “woman-as-appendage”, visible only if she displays her sexuality; - Sexual education from a feminist perspective; - Feminist discourses în art which criticize the patriarchal domination within various educațional and social structures;
Artă, gen, sexualitate () [Corola-website/Science/295787_a_297116]
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He published poetry în local cultural magazines. Between 1987 and 1989, he travelled în Alaska, Canada, UȘA, Mexico, Brazil and Argentina, supporting himself by doing odd jobs and teaching English. În 1992, he is appointed coordinator of the Romanian branch of IGLHRC (</i><i>Internațional Gay and Lesbian Human Rights Commission) în Sân Francisco. În 1996, he launched <b>Romanian LesBiGays</b>, the first gay internet page în Romanian, and he returned to România for 3 months. În 1999, he moved
„A fi gay este un act politic, este o declarație de emancipare eminamente politică.” () [Corola-website/Science/295779_a_297108]
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activism. This is how I began to see that there was something else besides people waiting all day for “pick-ups”. That here was, indeed, more than that. What happened next? At school, I made a manifesto-drawing inspired by that issue of Paris Match. There was an article on the invasion of Czechoslovakia în 1968 and I saw a caricature of a Soviet soldier with his legs spread on two tanks. It hâd “CCCP” (USSR) written on the tanks. I copied the
„A fi gay este un act politic, este o declarație de emancipare eminamente politică.” () [Corola-website/Science/295779_a_297108]
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pick-ups”. That here was, indeed, more than that. What happened next? At school, I made a manifesto-drawing inspired by that issue of Paris Match. There was an article on the invasion of Czechoslovakia în 1968 and I saw a caricature of a Soviet soldier with his legs spread on two tanks. It hâd “CCCP” (USSR) written on the tanks. I copied the drawing în my own way on the blackboard, with white chalk. It was a disaster... the principal came rushing
„A fi gay este un act politic, este o declarație de emancipare eminamente politică.” () [Corola-website/Science/295779_a_297108]
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I was underage, they couldn’ț do anything besides lowering my Conduct grade. I hâd to repeat 8th grade. My father was pretty shocked by this episode. [...] About your sexuality... I didn’ț wish to be a homosexual. The concept of “pride” doesn’ț mean anything to me. I’m not proud to be gay, aș I’m not proud to be Romanian or proud to be a mân. I hâd no contribution to either of these things, even though I
„A fi gay este un act politic, este o declarație de emancipare eminamente politică.” () [Corola-website/Science/295779_a_297108]
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Internațional Workshop from the 16th to the 20th October 2014 în Bucharest This workshop is part of a series of internațional interdisciplinary meetings and discussions about the memory culture and memory politics of the Holocaust and the fascist regimes în different European states. It will explore the history of the Holocaust în România and the recent debates
Nationalism, fascism and the Holocaust in Romanian History – a critical approach International Workshop from the 16th to the 20th October 2014 in Bucharest () [Corola-website/Science/295793_a_297122]
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of internațional interdisciplinary meetings and discussions about the memory culture and memory politics of the Holocaust and the fascist regimes în different European states. It will explore the history of the Holocaust în România and the recent debates about ways of forgetting, remembering, witnessing and writing history. The discussions will be set în the broader field of transnațional German-Romanian relations. Almost 70 years after the fall of the fascist regimes în the Romanian territory, the history of the Holocaust în România
Nationalism, fascism and the Holocaust in Romanian History – a critical approach International Workshop from the 16th to the 20th October 2014 in Bucharest () [Corola-website/Science/295793_a_297122]
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and the fascist regimes în different European states. It will explore the history of the Holocaust în România and the recent debates about ways of forgetting, remembering, witnessing and writing history. The discussions will be set în the broader field of transnațional German-Romanian relations. Almost 70 years after the fall of the fascist regimes în the Romanian territory, the history of the Holocaust în România is still controversially debated and the process of writing this history is still going on. Ten
Nationalism, fascism and the Holocaust in Romanian History – a critical approach International Workshop from the 16th to the 20th October 2014 in Bucharest () [Corola-website/Science/295793_a_297122]