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Corps et blanchité au prisme de la Blackness

Body and Whiteness Through the Lens of Blackness

Sarah Fila-Bakabadio

'autorise pas de définition au point que Fanon ne parvient à l'aborder que par des métaphores contraintes et des détours stylistiques (la lumière, la mort). Cet œil dominant est l'instrument de ce que le philosophe George Yancy nomme le « white gazing ». Le

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Gaze, Nomad, Dwelling

Metaphors for a Mobile Imagination

Jennie Germann Molz

new mobilities paradigm to life. 2 His first edition of The Tourist Gaze (1990) had already laid the groundwork for such metaphorical thinking, but it was a decade later, in Sociology beyond Societies (2000), that Urry established the significance

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Gazing at Medusa

Adaptation as Phallocentric Appropriation in Blue Is the Warmest Color

Marion Krauthaker and Roy Connolly

with the negative impact of male-oriented representations of women. Laura Mulvey coins the term ‘male gaze’ to describe a representation influenced by a patriarchal and binary standpoint. 4 In Mulvey’s view, by assuming heterosexual men as the default

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Objectification, Empowerment, and the Male Gaze in the Lanval Corpus

Elizabeth S. Leet

palfreys. 1 By using their wealth, courtly animals, and physical beauty to free their lovers, each fairy mistress participates actively in the male gaze and circumvents the social expectations levied on many courtly women. Although the male gaze has often

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‘What is going on here?’ Gazing, Knowledge and the Body at a Pilgrimage Shrine

John Eade

portraying dramatic events associated with them. Lourdes emerged as a particularly controversial shrine because of people's claims to having been miraculously healed there. The body became a prime focus of the photographic gaze in this context, and

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A Music Room of One's Own

Discursive Constructions of Girls-only Spaces for Learning Popular Music

Cecilia Björck

This article elaborates on discursive constructions of girls-only settings through the spatial metaphor of a room of one's own, as articulated in round-table discussions among staff and participants from girl-centered music programs in Sweden. The idea of a separate room refers to spaces for collective female empowerment as well as for individual knowledge acquisition and creativity. These spaces are constructed so as to provide the possibility for exploration, subjectivity, and focus, by offering (partial and temporary) escape from competition and control, from a gendered and gendering gaze, and from distraction. Girl-centered programs are also discussed as paradoxical because they function as gender-neutral when seen from the inside, but gender-specific when seen from the outside.

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Digitizing the Western Gaze

The End FGM Guardian Global Media Campaign

Jessica Cammaert

newspaper’s international reputation will help “open doors” for change, but it betrays an inclusive ‘Othering’ based on the digital repackaging of historical attempts at transnational sisterhood (Nnaemeka 2005) , but with a distinctly similar western gaze

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The Politics of Revenge (Pornography)

Emma Celeste Bedor

, therefore, I explicate the origins and structures of revenge pornography and then provide a history of the relationship between the general concepts of voyeurism and the gaze and the specific aspects of cinematic and photographic images that shift with

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Sartre's 'New Gaze' in Saint Genet: a Lacanian Reading

Guillermine D.E. Lacoste

The theory of the gaze elaborated in L’Etre et le Néant has long been a classic, used, quoted and criticised by a plethora of writers, Lacan among them. There are at least ten references to Sartre’s gaze in Lacan’s Séminaires from 1954 to 1964. In an essay entitled ‘A Lacanian Elucidation of Sartre’, in which I used Lacan’s terminology on neurosis, I called the gaze the first phobia of the neurotic. I viewed it and the other two phobias I discerned in L’Etre et le Néant (le trouble and the viscous) as forming a link in the chain of Sartre’s autoanalytical writings (from La Nausée through L’Etre et le Néant, Baudelaire, Saint Genet, to L’Idiot de la famille).

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A Sensory Gaze into Embodied, Material and Emplaced Meanings

Midlife Experience of Creative Leisure Occupations

Tamar Amiri-Savitzky, Merel Visse, Ton Satink, and Aagje Swinnen


Creative leisure occupations, such as arts and crafts, can give rise to meaningfulness. To date, much of what is known about meaningful occupations relates to verbalised meanings. This article assumes a sensory gaze to examine the tangible creative leisure occupations of three women in midlife. A sensory ethnographic approach comprising participant observation, a reflexive ethnography diary, and photo elicitation was augmented by semi-structured interviews, revealing the ways that meaningfulness is felt and sensed in the body through emplaced interactions with nonhuman elements: materials, objects, space and time. The findings provide fresh insights into embodied and emplaced experiences of meaningfulness in occupation in the context of meaningful ageing, illustrating how meaningfulness in occupation goes beyond what can be experienced or expressed in words, spanning both tangible and intangible themes.