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India Halstead

to the new forms of literary and artistic expression in the early twentieth century. Tracing Freud's ideas through the changing theoretical fields of phenomenology and feminism in the 1960s and 1970s reveals important parallels with Horn's own

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“Undoing” Gender

Nexus of Complicity and Acts of Subversion in The Piano Teacher and Black Swan

Neha Arora and Stephan Resch

Michael Haneke’s The Piano Teacher (2001) and Darren Aronofsky’s Black Swan (2010) are films about women directed by men. Both films unorthodoxly chart women artists’ struggle with the discipline imposed on them by the arts and by their live-in mothers. By portraying mothers as their daughters’ oppressors, both films disturb the naïve “women = victims and men = perpetrators” binary. Simultaneously, they deploy audiovisual violence to exhibit the violence of society’s gender and sexuality policy norms and use gender-coded romance narratives to subvert the same gender codes from within this gender discourse. Using Judith Butler’s and Michael Foucault’s theories, we argue that Haneke and Aronofsky “do” feminism unconventionally by exposing the nexus of women’s complicity with omnipresent societal power structures that safeguard gender norms. These films showcase women concurrently as victim-products and complicit partisans of socially constructed gender ideology to emphasize that this ideology can be destabilized only when women “do” their gender and sexuality differently through acts of subversion.

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Vicky Lebeau

This article explores the representation of sexuality and vision in Elfriede Jelinek's Die Klavierspielerin [The Piano Teacher] (1983) and Michael Haneke's La Pianiste (2001). In its focus on the relation between Mother and Erika, Die Klavierspielerin brings right to the fore the grounding of both sexuality and visuality in the ongoing ties between mother and child. Displacing that novel onto the screen, Haneke redoubles its focus on vision. It is in the convergence between the two that we can begin to explore what may be described as the maternal dimension of the various technologies of vision that have come to pervade the everyday experience of looking—their effect on our ways of understanding the relations between visuality and selfhood, visuality and mind.

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Christopher Blake Evernden, Cynthia A. Freeland, Thomas Schatz, and Frank P. Tomasulo

. Overall, the analysis uses two theoretical frameworks: bioculturalism and Schubart's term evofeminism —a hybrid of the evolutionary nature of bioculturalism married to multiple iterations and discussions of feminism. This last term supports her ongoing

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Jonathan A. Allan, Chris Haywood, and Frank G. Karioris

Ignorance. ” Hypatia: A Journal of Feminist Philosophy 19 ( 1 ): 194 – 232 . https://www.jstor.org/stable/3810938 . 10.1111/j.1527-2001.2004.tb01275.x Van Bogaert , Knapp D. , and Gboyega A. Ogunbanjo . 2009 . “ Feminism and the Ethics of Care

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Jacob Breslow, Jonathan A. Allan, Gregory Wolfman, and Clifton Evers

contemporary manufactured versions—for example, the “Lad,” “metrosexual,” “moral hero,” and “retrosexual”—a reactionary identity to feminism that celebrates sexism, chauvinism, misogyny, and ethnocentrism. Waling's media analysis of men's interest magazines

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When the Future Is Hard to Recall

Episodic Memory and Mnemonic Aids in Denis Villeneuve’s Arrival

Hannah Chapelle Wojciehowski

consistent with white liberal heteronormative feminism. Pace Mayer, the film’s premise of a female linguist saving humanity from its worst impulses is most certainly science fiction—and, at least for this viewer, a welcome intervention. 3 In his list of

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Synthetic Beings and Synthespian Ethics

Embodiment Technologies in Science/Fiction

Jane Stadler

. “ A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century .” In Simians, Cyborgs and Women: The Reinvention of Nature , 149 – 181 . New York : Routledge . Hayles , N. Katherine . 1999 . How We Become

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James K. Beggan

-011-9125-y Grosz , Elizabeth A. 1994 . Volatile Bodies: Toward a Corporeal Feminism . Bloomington : Indiana University Press . Hall , Lesley A. 1992 . “ Forbidden by God, Despised by Men: Masturbation, Medical Warnings, Moral Panic, and Manhood

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The Aesthetics of Boredom

Slow Cinema and the Virtues of the Long Take in Once Upon a Time in Anatolia

Emre Çağlayan

Smallwood , and Jonathan W. Schooler . 2012 . “ Mindfulness and Mind-Wandering: Finding Convergence Through Opposing Constructs .” Emotion 12 ( 3 ): 442 – 448 . 10.1037/a0026678 Petro , Patrice . 2002 . Aftershocks of the New: Feminism and Film