Anais Nin

In her influential and critical book-length essay, A Room of One’s Own, Virginia Woolf studies and comments on the cultural, economical, and educational limitations that prevent women from exhibiting their creative potential. She suggests that language is gendered, ultimately leading to the conversation on the sexual politics of writing. Historical novelist Sarah Waters engages with complex topics of similar politics, most notably in her 2005 publication, The Night Watch. This novel is set in World War 2 London, where Waters tells the intertwined tales of three women and a young man in backwards chronological order. This narrative technique speaks to the temporality of writing; a way of challenging gendered language. Using Woolf’s text to critically examine Waters’ contemporary writing, this paper aims to reimagine rooms and spaces that reveal the authorship of women, the reinvented language of women’s writing, and the boundaries of fiction works today. I ask, how does the figure of the woman reclaim her space and is affiliated with that space of the room? As well, how are identities formed through different narratives? Identity as a theme in Waters’ novel is a prominent force of analysis, connecting to the theories and ideologies of Hélène Cious, Audre Lorde, Virginia Woolf, and Sara Ahmed. In these findings, the problem with representing women’s spaces in books and literature is theorized using a feminist lens. Waters succeeds in this model, carefully outlining the experiences of women in liminal and linear time, using war and trauma as a backdrop and setting.

Biofiction is literature that names its protagonist after a real person, and while it is clearly fiction, many scholars have treated the literary form as if it were biography. The Moroccan writer, Hassan Najmi, has authored a splendid biographical novel about Gertrude Stein, which clarifies why the literary form is primarily fiction and should not be treated as a form of biography or history.

Anaïs Nin es conocida por sus novelas y relatos eróticos, así como por sus diarios íntimos, algunos parcialmente publicados en vida y editados en su versión íntegra a partir de la década de 1980. Los primeros volúmenes en aparecer corresponden a los años 1931 a 1934, cuando afincada en las afueras de París iniciaba su trayectoria literaria. Las profundas reflexiones sobre su condición de autora, sus experiencias y las relaciones que mantenía en su medio social durante dicha etapa nos permitirán explorar, en esta contribución, los espacios en los que Nin cultivó y desarrolló su persona artística y literaria.

Antonin Artaud’s « Théâtre de la cruauté » consists in the extreme display of the conflictive nature of the world. The Catalan poet Josep Palau i Fabre highlighted the poetic and negative dimensions of Artaud’s project and insisted on its failure, addressing its impossible objectivation and its similarity with alchemy. The article aims to identify the central elements of Palau’s interpretation, annihilation and debirth, and to assess their inscription in an experimental poetics proposal inspired by alchemy.

Imbagħad jgħidu li fid-dinja hawn in-nies f’sensihom, mhux tabilħqq jew, dan        is-sur Ġakkin, għandu flus kemm jesa’ ġildu u dejjem irid u jrekken ma li għandu. Tafu li biex ikattar ġidu la u lanqas uliedu, Ġakob u Susanna ma jieklu sa ma jixbgħu. Xħiħ kien dan is-sur Ġakkin?.... U ngħid kienx xħiħ, kien isellef il-flus        bl-użura, mod ta’ użura li kien ħoloq hu, biex għal dak li jsellef, jieħu darbtejn jew tlett darbiet iżjed. Biex man-nies jidher raġel tajjeb kellu jaħdem miegħu l-Ħabxi, raġel misterjuż iktar mill-Ħajbu, dendel kusek ma kulħadd, imma mhux mall-ħabxi, għax tispiċċa ħażin.
Dan Ġakkin, kellu jaħdem miegħu lil Ċensu l-burdnar, temmnuni meta ngħidilkom li ma felaħx jaħdem iżjed miegħu, għax kien għasru bħall-lumija, darba għamel waħda minn tiegħu u jaqtagħlu t-tara, u s-sur Ġakkin safa b’id wara u l-oħra quddiem. Imbagħad insibu lis-seftura Rakel, ommi ma xi tfajla dik, ħelu zokkor, impustura, iżda fuq kollox makakka minn dawk il-kbar, kienet għarusa lil Ġakob,  bilkemm ma ngħidilkomx li dan kien fidil, imma Rakel kienet tħobbu, u s-sur Ġakkin kien sajjem għalkollox dwar din l-imħabba, mhux talli hekk, talli kien tħajjar għaliha, hu. Kos hux kif jaħdem moħħ il-bniedem.
Bintu Susanna, tfajla twajba u ntelliġenti, kienet għarusa lil Danjelli kien ġej minn familja tat-tajjeb, għax kif jgħidu flus ma flus u qamel ma qamel, imma balleċ, dan Ġakkin ried jara kif se jdabbar kemxa minn fuq dahar dan ukoll. Fil-ġrajja tidħol ukoll Lukrezja, oħt Ġakkin, li kienet titħassar lil ħuha li wara li romol ma reġax iżewweġ, tafu li ssiblu waħda faqa’, lil Stella, mara l-ġmiel tagħha.
U Tononi kif jidħol fl-istorja? Ijwa ħija, Toninu kien il-fus biex setgħu jduru r-roti, mhux hekk biss, iżda kien ukoll iċ-ċavetta, biex jissolvew ħafna problemi.
Xejn ma ngħidilkom, jekk tridu ssibu rkaptu ta’ dawn il-ħafna trufijiet, ejjew u araw din il-kummiedja mill-bida sal-aħħar. E bil-ħaqq, lestu rwieħkom, għax  żaqqkom ser tibda taqbeż bid-daħk u ma noħodiex bi kbira jekk xi ħadd jagħmel taħtu. Nistidinkom biex ma tonqsux, jien hemm se nkun, għax inħobb nidħak.

Amazonia, main biodiversity reservoir on Earth, is at the heart of scientific and social debates focusing on sustainable management of natural resources. Brazilian and French teams working on this project selected several study sites in the Amazon Basin in function of spatial and temporal scales conditioning access to natural resources and biodiversity. The first objective is to document practices and impacts of rural settlers and of traditional agriculture on local biodiversity. In a second time, the projects aims at assessing the role of public policies in biodiversity evolution. This project benefits from great pluridisciplinary within its research teams and its institutional partnership. Remote sensing and spatial analysis integrate both botanical and socioeconomic data sets in order to deliver cartographic documents showing trends in biodiversity evolution and in public policy impacts on biodiversity.

Este artículo analiza la importación y circulación de traducciones durante el tardofranquismo, enfocándose en la recepción de obras de Henry Miller y Anaïs Nin a través de los expedientes de importación y censura de libros del Archivo General de la Administración. Se estudian los procesos textuales en diferentes traducciones por medio de la correspondencia entre agentes involucrados en la producción de dichas traducciones al español y al catalán. El objetivo es arrojar luz sobre las relaciones editoriales que se dieron durante el franquismo con el exterior al importar literatura extranjera, especialmente obras traducidas al español en otras partes del mundo hispánico en contraste con obras editadas en la Península.

D voyre Fogel (Debora Vogel) (1900-1942) est née à Bursztyn, petite ville rurale de Galicie orientale, dans un milieu assimilé polonophone acquis aux idées sionistes (son père, qui lui donna une formation classique en hébreu, dirigeait l'école de la fondation Baron Hirsch puis un orphelinat à Lwów/Lemberg où la famille avait déménagé). La famille passera les années de guerre dans la capitale autrichienne. D'abord étudiante en philosophie à Vienne, Fogel suit des études de lettres à Cracovie puis parfait sa formation de philosophe à l'université de Lwów. Titulaire d'une thèse sur l'influence de l'esthétique hégélienne sur le philosophe et historien de l'art Józef Kremer, elle traverse l'Atlantique pour découvrir New York et sillonne l'Europe, séjournant à Stockholm, où réside une partie de sa famille (son oncle, Marcus Ehrenpreis, qui fut aussi le secrétaire de Theodor Herzl, y occupe

Contre toy fault que ma langue declicque En rhetorique car tu m'es trop inique 3 Déroutant le lecteur, les cavalcades de calembours des textes de Verheggen sont aussi des exposés en acte de l'art de la composition et du style poétiques, soit des arts poétiques. « Leçon de Pésie », par exemple, en oubliant le [o], précisément lyrique, qui donne toute sa noblesse au terme « poésie », applique le principe de « gaucherie apparente » prôné par « Leçon d'inattention » 4. Des « manifestes », parfois « cochon[s] » 5 , prodiguent de manière musclée une déferlante de conseils aux « jeunes gens » alors que des « éloges » vantent « Sauveurs de l'humidité labiale », « Écholalistes déchaînés » et autres « Praticants du hoquet lyrique » 6 pendant qu'une « lettre », nécessairement adressée à un « Rocker » du nom de « Rainer Maria », explique comment « écrire en chaleur », « en rut », « en éruct pour ne pas dire en éructation » 7. Ces arts poétiques d'un genre irrévérencieux témoignent du besoin compulsif qu'a Verheggen de commenter sa pratique poétique, d'en cerner les contours. Dans « Pour en baver ! », préface d'Artaud Rimbur, il déclare en effet : J'ai toujours voulu écrire sur Artaud […] un texte, bref et fulgurant, qui puisse, d'un côté accompagner mes lectures-performances et, de l'autre, être, à mes yeux, une sorte d'art poétique violent. Hard, comme on dit aujourd'hui : un hard poétique ! 8 Expression de l' « inSONscient » 9 , cet art poétique, né d'une « réflexion [faisant] penser le son et le sens ensemble ! De leur naissance à leur profération ! » 10 , conduit Verheggen à situer sa pratique poétique non seulement par rapport aux grandes figures de la poésie des XIX e et XX e siècles (Rimbaud, Artaud et Michaux, notamment), mais également par rapport aux pratiques contemporaines de l'oralité, en particulier celles des performances de rap et de slam.

the precise date and time she recorded in her diary). "We are going to London tomorrow." This first visit lasting but all of three days to what the poet T. S. Eliot had recently called an 'Unreal City,' is absent from the two major biographies of her life. They arrived to a rainy London where Nin spotted a Chinese eatery at which they dined on their way back from

Autobiographical practices, as realized and conceptualized in the 20 th century have, to a great extent, ignored the issues pertaining to the body. Shirley Neumann sees as one of the main reasons for this «the Platonic tradition that opposes the spiritual to the corporeal, and then identifies 'self' with the spiritual» 1. In later considerations of autobiography that have been influenced by the postmodernist paradigm, the rationalist 'self' is replaced by the notion of the subject that views linguistic constructions of the self, or, in other words, textual markers of the subject as part of historic, social and cultural factors. According to Sidonie Smith, «subjectivity is not an out-of-body experience» 2 ; rather it can be viewed as «the elaborate residue of the border politics of the body since bodies locate us topographically, temporally, socio-culturally as well as linguistically in a series of transcodings along multiple axes of meanings» 3. By declaring that «the body has been made so problematic for women that it has often seemed easier to shrug it off and travel as a disembodied spirit» 4 , Adrienne Rich voices an experience familiar to women belonging to various cultures, classes, ages and racial/ethnic backgrounds. The Cartesian mind/body split placing women on the latter side of the divide has historically resulted in a textual neutralization or writing off the body in women's autobiographical texts. Several feminist autobiography scholars have argued that despite its problematic nature, the body is not

Through the works of Henry James, Anais Nin and Vladimir Nabokov, this project shows how the modernist child develops from the unknowing to the sexualised subject. It begins with Henry James’s proto-modernist conceptualisation of children as unknowable: childhood cannot be represented with any certainty because children lack the means to represent themselves. They are objects within discourse, but, in James, their status as subjects is epistemologically ambiguous. This unknowable child foreshadows the modernist reimagining of childhood sexuality. Chapter Two turns to Anais Nin, whose relationship to Freudian psychoanalysis underscores her vision of childhood. She articulates that vision through a series of short stories in which childhood becomes increasingly estranged from the familiar symbol of innocence, and trends toward its perverse sexualisation. Chapter Three demonstrates the dangers of childhood as a blank conceptual space in Vladimir Nabokov’s Lolita. In her departure from ...

The question of literary patronage has often surfaced with regard to French women writers, which is unsurprising given their historical near-exclusion from the canon. If, on the one hand, roughly two thousand women published texts in France during the nineteenth century (Slama, "Un chantier" 87), it was argued all through the century that to take part in literary production was unfeminine (Sauvé 62). ' Women writers thus had little symbolic capital2 in a century that privileged, as Gustave Lanson described in 1896, "une littérature d'hommes, faite surtout par et pour des hommes" (842). Writing and publishing were, for women writers, necessarily strictly secondary activities to their primary roles as wives and mothers.3 Even the women who succeeded in publishing their works were not generally perceived as authors, but rather as authoresses, that is to say, as the producers of particularlyfeminine-and thus inferior-texts (Sauvé 187). A woman writing in nineteenth-century France found herself in a difficult position: if she contested the expectations of "feminine" literature, she was rebuked for transgressing her gender role; if she obeyed the rules of the "feminine," her works were devalued and fell into a subgenre of minimally

Que penser d'un theâtre qui sensiblement donne a penser dans le refus de proposer une pensee – ou dont le geste manifeste plus surement le desir de nous en depouiller ? Un tel theâtre met necessairement en mouvement la pensee pour nous en ressaisir : ignorance qui desire en retour s'eprouver. Et ce qu'elle eprouve, apres le depouillement, dans le manque du theâtre leve partout sur le chemin du retour apres le theâtre, dans l'epuisement, la douceur d'y penser, est le ressaisissement meme. Je pense a ce theâtre quand il s'acheve et commence en moi cette pensee : que dans l'absence de pensee offerte comme un tout constitue (et a laquelle adherer ou non), elaboree justement contre la pensee de s'y accorder, s'inaugure un temps autre du dehors, qui s'ouvre infiniment au danger de s'y livrer, au desir puissant de s'y rendre puisque c'est la que de la vie aura ete de nouveau inventee, intensifiee. Ce temps n'est pas celui du desarroi ...

This work presents an approach of a geographic information system applied to emergencies attending. The system was developed based on public domain software integrated with Internet gateway Maps Google developed to satellite images visualization. The study area of this work was the urban area of the municipality of Goiânia. With a urban demography has a huge density of residences near from risk areas categorized by drainage network and dangerous industrial/commercial places proximity. The constructed geographic database is integrated by a extensive dataset composite by environmental, facility and risk data geographically referenced. This GIS is a tool to visualization and spatial analyses allowing the generation of risk maps that makes possible the management in attendance and units emergencies planning.

That Virginia Woolf was an experimental writer is now a truism. Woolf pioneered experimental techniques: the use of poetic features in prose such as counterpoint and conversational rhythm, and a free indirect style moving between many characters' thoughts. These techniques are now commonplace in contemporary writing, including that of Toni Morrison. The experimental, for Woolf, is always engaged with social and ethical issues and is closely bound up with her feminism. Woolf's exploration of experimental constructions of gender in Orlando, The Years and Three Guineas, among other writings, was ahead of its time. An earlier work, Mrs Dalloway, foregrounds communal voices and integrates the political with aesthetics in its interweaving of the lives of Septimus Smith and Clarissa Dalloway. Throughout her work, Woolf writes experimentally about issues of women's identities, which are bound up with matrilineal inheritances. The central concern of A Room of One's Own is the significance of an alternative women's tradition.

Les abîmes secrets intrinsèques à la photographie du collectif Void of course justifient l’intérêt porté à la couleur noire. Dans l’antiquité grecque la nuit donne naissance au jour, le noir est donc aussi la nativité. La figure du néant et des ténèbres, lorsque Jésus agonisant sur la croix au Golgotha, qui signifie “lieux du crâne” ; la scène est décrite ainsi : “de midi jusqu’à trois heures de l’après-midi, il y eut les ténèbres sur tout le pays” évangile selon Saint-Matthieu, passage 27.35-27.36 issu de la Bible. Le noir dérange, il est mystérieux, secret, pénétrant et sensuel, ce qui le rend transgressif puisqu’il flirte avec l’interdit.

Antonin Artaud et James Joyce posent a la litterature une meme question : comment produire un texte qui soit un corps vivant, comment inventer un espace d’ecriture ou se renouent les liens entre corps et psyche ? Leur œuvre les situe au cœur de la crise moderne des identites : peu a l’aise a l’interieur du cadre identitaire de nos subjectivites ordinaires (l’appartenance sexuelle, linguistique ou communautaire), ils se disent coupes de leur chair, exiles dans un monde ou les langues epuisees echouent a symboliser un corps vivant. Luttant contre le dedoublement, la schize (Artaud), la phobie sterilisante des corps pourrissants que peine a dire la langue de l’esthete (Joyce), ils entreprennent de reconstruire dans l’ecriture le corps qui leur fait defaut. Mort et resurrection des signes et des corps, tel est le theme majeur du Wake. L’un et l’autre s’efforcent d’assurer la releve d’un pouvoir procreateur contamine par la mort et que n’incarnent plus des peres et meres defaillants, tou...

Partant du concept d’idéologie tel qu’il est défini par Althusser et repris dans les revues Tel Quel ou TXT, cet article montre la place prise par la publicité dans la poésie avant-gardiste. Pour les écrivains, la publicité fait partie intégrante des discours sociaux dans leur ensemble, avec les références littéraires, le discours politique et les phrases creuses de la rhétorique familiale ou sociale, qui contribuent à former l'idéologie. Objet de critique face à l’injonction omniprésente de normalisation qu’elle véhicule, la publicité trouve cependant sa place dans la construction d’une esthétique avant-gardiste se donnant pour mot d’ordre d’introduire l’impureté, l’hétérogénéité, recourant elle-même à l’intertextualité et aux paronomases, au même titre que le slogan politique.

This work has the purpose of supplying the necessary elements to the assembly of a SIG for management and control of public works, it has starting point the works related to the dirty road, therefore in the rural area of the municipality, being able, logically, being extended to the other areas of the public administration. The preference by the a road subject it is because its has a big economic appeal and relative ease of acquisition of the plans of information, they are the follows: a road mesh, notable points, works of art, drainage, relief and soil. Plans of information about the road mesh, notable points and works of art acquired in rising field with GPS, and drainage, relief and acquired soil via vector of existent plants. Through a support program to the management denominated SISGEM-System of Management of Municipal Roads-we can obtain data regarding the production, productivity, costs, etc, generating attributes to the geo objects of the plans of information described above, and, this way, allowing the crossing of plans of vectorial information with information generated from the accomplished works.

El objetivo principal de este artículo es determinar las conexiones que Anaïs Nin hace entre la intelectualidad, la creatividad y la monstruosidad en la mujer en el volumen de su diario Henry and June (2001). A través de las figuras de June Miller y Anaïs Nin, se puede ver la conexión cultural que existe en el siglo XX entre la creación y la masculinidad, la cual enrarece la creación femenina hasta considerarla monstruosa. Para alcanzar este objetivo, Henry and June (2001) será analizado junto con trabajos teóricos sobre la contraposición cultural entre la identidad femenina y la creación literaria (Gilbert y Gubar 1979; Gilbert y Gubar 1988; y Showalter 1985), así como sobre la monstruosidad femenina (Creed 1986; Kristeva 1982). Para concluir, el artículo ilustrará cómo la creatividad literaria ha estado culturalmente asociada con la masculinidad, condenando a la escritora a una identidad ambigua y, por tanto, monstruosa.
Palabras Clave: Anaïs Nin, Escritora, Monstruosidad, Identidad, Creatividad.

This paper aims at showing the connections Anaïs Nin establishes between intellectuality, creativity, and monstrosity in women throughout the Henry and June volume of her diary (2001). Through June Miller and Anaïs Nin, a cultural connection between creativity and masculinity which estranges female creation to the point of considering it to be monstrous can be seen in the 20th century. To achieve this objective, Henry and June (2001) will be analysed along with other theoretical works on the cultural opposition between female identity and literary creation (Gilbert and Gubar 1979; Gilbert and Gubar 1988; and Showalter 1985) as well as works on feminine monstrosity (Creed 1986; Kristeva 1982). Finally, this paper will illustrate how literary creativity has been culturally associated to the concept of masculinity and, therefore, has condemned the female writer to an ambiguous and, consequently, monstrous identity.
Key Words: Anaïs Nin, Women Writers, Monstrosity, Identity, Creativity.

Este libro representa un completo estado de la cuestión sobre el diario, tanto en la cultura hispánica (José Asunción Silva, Miguel de Unamuno, Julio Cortázar, Mario Benedetti) como en la anglosajona (Jemima Kindersley, Gerald Brenan), y desde una perspectiva multidisciplinar que abarca, entre otras dimensiones, la histórica, la cinematográfica y la didáctica, con especial atención hacia la escritura femenina (Anaïs Nin, Ana Frank, Marguerite Duras y Laura Freixas, entre otras).
En tiempos líquidos (Zygmunt Bauman) y una cultura de la fugacidad (Byung-Chul Han) como los que nos ha tocado vivir, reflexionar sobre la práctica diarística (que parece «de otra época» en que la introspección, lejos del incisivo smartphone, era posible) puede ser un buen antídoto. A ello se encomiendan los autores y las autoras de este libro, que reúne una docena de variadas aportaciones sobre lo que representa el diario desde la doble vertiente de la emisión y la recepción. Aborda así, por ejemplo, tanto la escritura en crisis de Unamuno o Silva, como la experiencia pedagógica que propugna un nuevo cauce comunicativo entre docentes y discentes, el privilegiado (y mágico por momentos) espacio del diario, que contiene a la persona a través de la palabra.

The majority of the Brazilian cities lacks of cartographic information on its geographic area. In this direction, this article presents the use of SIG SPRING, that if constitutes in a gratuitous software developed by the National Institute of Space Research (INPE), with the objective to organize a geographic data base for the Vespasiano Corrêa's city, RS. They will consist of the data base basic territorial and ambient information, as: municipal limit, hydrography, roads, elevation, declivity, relief, use and covering of the ground, preservation permanent areas, localities and mapping of the swine and chickens creations. These information plans, beyond all allowing the quali-quantitative characterization of the municipal physical scene, allow to the generation of thematic maps printed matters and the spreading of the information in web, under the form of interactive and managemental a data base.

A redução da cobertura vegetal natural e a conseqüente fragmentação dos ecossistemas naturais é um fenômeno global e praticamente presente em todas as etapas da expansão da fronteira agrícola, agropecuária e urbana, atingindo a quase totalidade dos biomas. Os municípios, principalmente os com economia baseado na atividade agrícola, necessitam fazer o levantamento do uso de suas terras para planejar o uso com sustentabilidade. O presente artigo tem como objetivo analisar e caracterizar a situação ambiental do município de Salvador do Sul, que se localiza na região central do Estado do Rio Grande do Sul, a partir de mapas temáticos estruturados com o Sistema de Informação Geográfica Idrisi Kilimanjaro.. As bases de dados utilizadas foram cartas topográficas elaboradas pelo Serviço Geográfico do Exército em escala 1/50.000 e imagens do satélite Landsat 7, de 31/01/03. Foram elaborados os seguintes planos de informação: hidrografia, malha rodoviária, curvas de nível, hipsometria, clinografia, uso e cobertura da terra e das áreas de preservação permanente (APPs). A caracterização ambiental do município permite concluir que o mesmo possui 98,36 km 2 , sendo que 21,3% desta área possui cobertura florestal nativa, 18,8% floresta industrial, 12,5% de vegetação secundária, 9,1% de pastagens permanentes e 29,1% é utilizada para agricultura. Á área mapeada como APP foi de 12,62 km², valor que corresponde a 12,86% da área total do município. 38,66% da APP apresentam o uso e cobertura da terra de acordo com a legislação ambiental, porém, 61,34% da área apresentam uso em conflito com a legislação ambiental. Palavras-chave: Caracterização ambiental; mapas temáticos; planejamento ambiental municipal.

This study aims at predicting the spatial distribution of tropical deforestation. Landsat images dated 1974, 1986 and 1991 were classified in order to generate digital maps of deforestation which describe deforestation and forest persistence. The deforestation maps were ...

This study aims at predicting the spatial distribution of tropical deforestation. Landsat images dated 1974, 1986 and 1991 were classified in order to generate digital maps of deforestation which describe deforestation and forest persistence. The deforestation maps were ...

Sky Blue Press has been printing material dedicated to Anai's Nin (1903-1977) for nearly twenty-five years. In addition to the fifteen volumes of the now-defunct Nin-centered journal Cafe in Space, the publisher is gradually releasing the Uunexpurgated,j diaries. The original publication of the diaries brought Nin worldwide acclaim in the 1960s and 70s, and they became a fixture in the second-wave feminist movement. In addition to the copious number of journals that Nin filled, her correspondences were also expansive. Surprisingly, the Letters to Lawrence Durrell is only the second publication of Nin letters from Sky Blue Press, the first being Reunited: The Correspondence of Anal's Nin and Joaquin Nin: 1933- 1940, also released in 2020.

Julia Kristeva’s concept of maternal passion plays a central role within her larger theory of subjectivity and is often criticized by feminists and misunderstood by new readers. In feminist reaction to this concept, she has been accused of biological essentialism, perpetuating patriarchal and heteronormative systems, and relegating femininity to mystery and subjugation. Yet, Kristeva’s theory of maternal passion is actually the source of her resistance to each of these accusations. This paper intends to explain how maternal passion is the prototype of passion for all subjects, regardless of sex or gender, by defining key concepts surrounding maternal passion, in part to assist new readers in navigating feminist critiques surrounding her emphasis on maternity. I contextualize maternal passion within her unorthodox psychoanalytic approach, distinguish her concept of passion from emotion, explain why it is called ‘maternal’, and situate its function within her greater project of addressing the process of subjectivity in depressive social times. By investigating and connecting ideas from her early and late theory, I argue that maternal passion is grounded in Kristeva’s theory of the semiotic and mediated by detachment, which inaugurates psychic life and early subject formation (i.e., subjectivation), thereby founding the capacity to construct loving bonds with others.

1 Institut de Recherche pour le Développement – IRD Unité ESPACE (US140) Centre IRD de Cayenne – BP 165 – Route de Montabo – 97323 Cayenne cedex [email protected] ; [email protected] ; [email protected] ... ² Institut de Recherche pour le ...

Put before the labyrinth and proliferation of critical perspectives, studies and readings on Virginia Woolf, entangled in articulations of teleologies and epistemologies, the critic faces a question: from where should she/he start writing, on what and from which critical perspective? These were the circumstances that dictated my choice of writing on "A Sketch of the Past", published in Moments of Being-A Collection of Autobiographical Writing, (1976, 1985) and of analysing the narrative strategies used by the author to tell herself, to construct her identity and power, giving voice and authority to herself as a discursive formation. In 1929, in A Room of One's Own, Virginia Woolf explained the non-existence of authoritative female figures, metaphorically represented by Shakespeare's sister: when wondering about the reasons why women had not written as much as men, her conclusion was that historically women had been deprived of education, money, status and a room of their own in which to write. Were women given the intellectual and material conditions-"[if we] have five hundred a year each of us and rooms of our own; if we have the habit of freedom and the courage to write exactly what we think; if we escape a little from the common sitting-room […] If we face the fact that there is no arm to cling to" (AROO 148-149)-, then Shakespeare's sister would be born. The repression of the feminine discourse condemned it to silence and Shakespeare's neglected sister was only born when women were given the power of the word and of representation, when women projected in history an identity which does not fit into the androcentric paradigm of inflexible egos; she was born when women revealed their identity by acknowledging the presence of the other, an identity that is both unique and relational-a flexible ego in a world characterized by relationships. While the masculine tradition of autobiographical writing has taken as a premise the capacity of the writer to create a mirror effect and has made use of a stable and fixed perspective to constitute the self as the unifying element

Citation: Arnold, W. E. (2020). A Psychoanalytic Study of Lawrence Durrell's The Alexandria quartet: Exile and Return [Review of the book A psychoanalytic study of lawrence Durrell's the Alexandria quartet: Exile and return, by R. Alfandary]. Litera, 30(1), 275-281.

Qual è il senso, se un senso esiste, della melanconia? Si tratta forse di un dolore interminabile, devastante, senza alcuna possibilità di significazione? In questo libro, che procede in bilico tra rigorosa riflessione teorica e piacere della sorpresa narrativa, l’autore compie un viaggio attraverso la psicoanalisi, l’estetica letteraria e la filosofia con l’obiettivo di comprendere che cosa dica il sentimento melanconico dell’esistenza umana, quale posto occupino il dolore e la sofferenza nella costante costruzione della soggettività e come possa tale dolore essere attraversato, se non anche trasformato. Una via d’uscita possibile, a lungo trascurata anche dalla psicoanalisi, viene rintracciata nel perdono, qui discusso nei termini di un processo alternativo a quello del lutto e da cui può emergere il lato inedito e combattivo dell’afflizione melanconica.
Dopo un’attenta lettura del saggio Lutto e melanconia di Freud, per evidenziarne i pregi ma anche le possibilità di espansione, l’itinerario procede con l’analisi di storie letterarie in cui il perdono viene evocato nelle sue molteplici sfumature, che l’autore analizza a partire dalle nuove modalità di narrazione del discorso amoroso inscenate nella letteratura americana contemporanea (da Jeffrey Eugenides a Siri Hustvedt), passando dai romanzi intimisti di Anaïs Nin e Simone de Beauvoir fino ai versi che Ted Hughes ha dedicato a Sylvia Plath. Una sorta di autentico corpo a corpo con ciò che la letteratura dice del perdono, alla ricerca di una piega inaspettata. Una riflessione sul dolore e sulla perdita, ma anche su un’idea di perdono come scommessa di rinascita, come ricostruzione di una soggettività ridotta in frantumi.

Eroticism is the ability to reflect your individual/social values in what you feel when you are aroused.
Eroticism is the state about which an observer can pose questions and find answers about excitement (arousal).
Eroticism is potentiality, where you can find response to sexual instinct, before physical sex.
Putting questions determines the way one conceives sexual attraction. It determines the “Who I am” in sex. A sort of free will in the capacity of being aroused.
Eroticism is all the same for each observer?