Pub Date : 2021-07-05DOI: 10.58221/mosp.v115i1.6883
Rana Hasan Kandeel, Wafa Bedjaoui, Faten Mansi
Cet article a pour objectif de décrire une démarche de didactisation de la notion de symbole dans un contexte de français langue étrangère (FLE). Dans le cadre d’un module de linguistique qui fait partie d’une formation en traduction, les enseignantes ont rencontré des difficultés à faire comprendre des notions telles que « le symbole » à leurs apprenantes arabophones. Il a donc fallu adapter l’enseignement du concept en mettant en oeuvre des activités sur les représentations culturelles. Cette méthode a aidé les étudiantes à assimiler le concept abstrait de symbole et à acquérir une méthodologie de travail pour l’appréhender. Nous y revenons ici en trois temps. Dans la première partie, nous présentons le cadre théorique qui replace la notion de symbole dans sa relation avec la culture. Nous explorons ensuite les spécificités socio-culturelles et pédagogiques du contexte d’étude, et les difficultés de l’enseignement de la notion en cours de linguistique. Dans la dernière partie, nous mettons en lumière les démarches didactiques mises en oeuvre par les enseignantes de français dans un cours de linguistique pour faciliter l’apprentissage de la notion de symbole. This article aims to analyze a didactic approach to teach the linguistic concept of symbol in a context of French as a foreign language (FFL). The teachers who taught the linguistics courses found it difficult to inculcate concepts such as symbol to Arabic-speaking learners enrolled in a translation specialization. Therefore, they had to change the way of teaching the concept through the implementation of activities about cultural representations in FFL classes. This method helped the students to assimilate the abstract concept of symbol and to acquire a method to apprehend them. Our article is divided into three parts. In the first part, we present the theoretical framework based on the concept of symbol and its relationship with culture. Then, we proceed to the description of the socio-cultural as well as pedagogical characteristics of our context of study and we analyze the difficulties of teaching symbols. In the last part, we highlight the didactic approaches implemented by French teachers in a linguistics course to facilitate the learning of the concept of symbol, through the learning of French symbols by giving concrete examples from French culture.
本文的目的是描述在法语作为外语的语境中符号概念的教学方法。作为翻译培训的一部分，教师们在向讲阿拉伯语的学生解释“符号”等概念时遇到了困难。因此，有必要通过实施文化表征活动来调整这一概念的教学。这种方法帮助学生吸收抽象的符号概念，并获得理解它的工作方法。我们将分三个阶段回到这一点。在第一部分中，我们提出了取代符号概念与文化关系的理论框架。然后，我们探讨了学习环境的社会文化和教学特征，以及在课堂上教授语言学概念的困难。在最后一部分，我们强调了法语教师在语言课程中为促进符号概念的学习而采取的教学方法。aims to analyze这篇didactic办法to teach the上下文语言概念of in a symbol of French as a foreign language (FFL)。教授语言学课程的教师发现很难向从事翻译专业的阿拉伯语学习者灌输符号等概念。因此，他们必须通过在FFL课堂上实施有关文化表现的活动来改变教授这一概念的方式。This试验方法》歌词assimilate学生》(the文摘of a symbol and to acquire种评价apprehend概念的幸福。这篇文章分为三部分。在第一部分中，我们提出了基于符号概念及其与文化关系的理论框架。然后，我们继续描述我们的研究背景的社会文化和教育学特征，并分析教学符号的困难。在最后一部分中，我们强调了法国教师在语言课程中采用的教学方法，通过从法国文化中提供具体的例子来学习法国符号，从而促进符号概念的学习。
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Pub Date : 2021-07-05DOI: 10.58221/mosp.v115i1.6910
Elisabeth Mårald
--
--
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Pub Date : 2021-07-05DOI: 10.58221/mosp.v115i1.6898
Przemysław Szczur
L’auteur de l’article propose une analyse du roman Il ne portait pas de chandail de l’auteure belge contemporaine Annick Walachniewicz à travers la notion de « roman spatial ». Il souligne ainsi l’utilité de la perspective spatiale pour rendre compte de la spécificité de la littérature (post)migratoire. Dans le roman analysé, l’espace joue un rôle structurant tant au niveau du discours que de l’histoire. L’on y remarque une spatialisation de la composition et de la lecture romanesques. Les personnages, y compris la représentation de leur psychologie, sont également spatialisés. Quant à l’espace, il est narrativisé dans la mesure où il reste dans une relation intime avec l’intrigue à laquelle c’est principalement le trajet migratoire du père de l’héroïne-narratrice qui sert de principe dynamique. Au-delà de la dimension référentielle de l’œuvre, le style poétique qui y domine pourvoit les éléments spatiaux représentés d’une dimension symbolique. En termes géo-nationaux, c’est le territoire polonais qui y joue un rôle particulièrement important car il renferme le secret du père de l’héroïne-narratrice qui se trouve à la source du récit. Bien que la division fondamentale qui organise l’espace représenté dans le roman soit celle entre l’Est et l’Ouest européens, l’héroïne narratrice raconte aussi ses tentatives de dépasser cette dichotomie. The author of the article offers an analysis of the novel Il ne portait pas de chandail by contemporary Belgian author Annick Walachniewicz through the notion of "spatial novel". He thus underlines the usefulness of the spatial perspective to account for the specificity of (post)migration literature. In the analysed novel, space plays a structuring role in terms of both discourse and history. We notice a spatialization of the composition and the reading of the novel. The characters, including the representation of their psychology, are also spatialized. As for the space, it is narrativized insofar as it remains in an intimate relationship with the plot in which it is mainly the migratory path of the father of the narrator-heroine that serves as a dynamic principle. Beyond the referential dimension of the book, the poetic style that dominates it provides the represented spatial elements with a symbolic dimension. In geo-national terms, it is the Polish territory that plays a particularly important role because it contains the secret of the father of the narrator-heroine who lies at the source of the story. Although the fundamental division that organizes the space represented in the novel is that between Eastern and Western Europe, the narrator-heroine also recounts her attempts to overcome this
本文作者通过“空间小说”的概念，对当代比利时作家Annick Walachniewicz的小说《Il ne porte pas de chandail》进行了分析。因此，他强调了空间视角在解释(后)迁移文学的特殊性方面的有用性。在分析的小说中，空间在话语和故事中都扮演着结构的角色。我们注意到小说创作和阅读的空间化。角色，包括他们的心理表现，也是空间化的。至于空间，它是叙事的，因为它与情节保持着亲密的关系，主要是女主人公叙述者父亲的迁徙路线作为动态原则。在作品的参考维度之外，占主导地位的诗意风格为所代表的空间元素提供了一个象征性的维度。从地理民族的角度来看，波兰领土在其中扮演着特别重要的角色，因为它包含了主人公父亲的秘密，他是故事的来源。虽然小说中组织空间的基本划分是东欧和西欧之间的划分，但女主人公也讲述了她克服这种二分法的尝试。这篇文章的作者通过“空间小说”的概念对当代比利时作家Annick Walachniewicz的小说《Il ne weave pas de chandail》进行了分析。= =地理= =根据美国人口普查，该地区的总面积为，其中土地和(2.641平方公里)水。在分析的小说中，空间在叙事和历史方面都扮演着结构角色。这首歌在英国单曲排行榜上排名第二，在英国单曲榜上排名第三，在英国单曲榜上排名第四。= =地理= =根据美国人口普查，这个县的面积为。就空间而言，它是叙述的，因为它与情节保持着一种亲密的关系，其中它主要是叙述者-女主人公父亲的迁徙路径，作为一个动态的原则。= =地理= =根据美国人口普查，这个县的面积为，其中土地面积为，其中土地面积为。在地理-国家术语中，它是波兰领土，扮演着特别重要的角色，因为它包含了叙述者-女主人公父亲的秘密，他在故事的来源。虽然小说中所代表的空间组织的基本划分是在东欧和西欧之间，女主人公叙述者也回忆起她试图克服这一点。
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Pub Date : 2021-07-05DOI: 10.58221/mosp.v115i1.6901
M. Kotin
Am Material des historischen und gegenwartssprachlichen Psalmenkorpus (Notkers Psalter, Luthers Psalmenübersetzung in der Redaktion von 1912 und moderne sog. Einheitsübersetzung) wird untersucht, wie die Formen des Tempus, Modus bzw. die Modalverbkonstruktionen bei der Wiedergabe der Zukunft interagieren und wie sich die Modalverbkonstruktionen bei der Kodierung der Vergangenheitsperspektive verhalten. Auf Systemebene wären die (genuin deontischen oder volitiven) Modalverben theoretisch gerade im Althochdeutschen, wo die morphologische Futurform fehlt, ein ideales Mittel zur Kodierung der prospektiven Funktion, insbesondere bei den Verben nichtterminativer Aktionsartklassen, gewesen. Nichtsdestoweniger entscheidet sich Notker in seiner Übersetzung am häufigsten für den Einsatz der Präsensformen des jeweiligen Grundverbs, selbst auf Kosten einer möglichen temporalen Ambiguität der jeweiligen Lesart. Die Modalverbfügungen erscheinen bei ihm in aller Regel lediglich in seinen eigenen Kommentaren und Erläuterungen zu seiner Übersetzung, welche in den Gesamttext integriert sind. Bei Luther und in der modernen Einheitsübersetzung werden dagegen nahezu durchweg die Modalverben verwendet, um die lateinischen Futurformen bzw. die Formen des Präsens Konjunktiv mit Zukunftsbezug wiederzugeben. Bei der Kodierung des Vergangenheitsbezugs fungieren die Modalverben dagegen nur als modale und nicht als temporale Signale. Die Analyse hat gezeigt, dass sich Notker im Haupttext des Psalters generell an die lateinische Sprachform hält, während Luther und die auf ihn folgenden Übersetzer die Möglichkeiten des deutschen Modalverbsystems nutzen, um eine genauere sinngemäße Entsprechung zu bewerkstelligen. Ferner hat sich bestätigt, dass die – overten wie koverten – Signale für Temporalität, Aspektualität bzw. Aktionsart und Modalität nicht autonom auftreten, sondern mehrfache kategoriale Schnittstellen bilden.
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Pub Date : 2021-06-04DOI: 10.58221/mosp.v115i3.6814
María A. Semilla Durán
La proposición de este artículo consiste en leer, a la luz de los conceptos vertidos por Leonor Silvestri en Ética amatoria del deseo libertario y las afectaciones libres y alegres, dos novelas: Opendoor de Iosi Havilio y Las aventuras de la China Iron de Gabriela Cabezón Cámara. Ambas podrían inscribirse en un intento ficcional de imaginar nuevas formas de organización social y familiar que incluyan la circulación entre los géneros, como instancias posibles e incluso fundadoras de prácticas subversivas y, como tales, emancipadoras. Las dos propuestas son de diversa profundidad, extensión, eficacia y radicalidad, pero ambas rompen los órdenes establecidos y, a la vez, cuestionan mitologías culturales e históricas y hacen estallar los marcos políticos de la dominación. The proposal is to read two novels following the ideas displayed by Leonor Silvestri in Ética amatoria del deseo libertario y las afectaciones libres y alegres: Opendoor by Iosi Havilio, and Las aventuras de la China Iron by Gabriela Cabezón Cámara. These novels could be understood as a fictional attempt to imagine new ways of social and family organisation, ones that would allow circulation between genders, in order to produce subversive and emancipated practices. The two propositions are different in depth, extent, effectiveness and radicality, but both break the established order and, at the same time, question historical and cultural mythologies, while blowing up political domination’s frameworks.
本文的目的是根据莱昂诺尔·西尔维斯特里在自由意志主义欲望的爱情伦理和自由快乐的情感中所揭示的概念，阅读两部小说:伊奥西·哈维里奥的《开门》和加布里埃拉cabezon camara的《中国铁的冒险》。这两种方法都可以被视为一种虚构的尝试，试图想象新的社会和家庭组织形式，包括性别之间的流通，作为可能的实例，甚至是颠覆性实践的创始人，从而解放。这两项提议的深度、广度、有效性和激进程度各不相同，但都打破了既定秩序，同时质疑文化和历史神话，并打破了统治的政治框架。建议阅读莱昂诺尔·西尔维斯特里(Leonor Silvestri)在《自由意志主义欲望和自由快乐情感的爱情伦理》(amatoria ettica del deseo libertario)一书中所阐述的思想的两部小说:伊奥西·哈维里奥(Iosi Havilio)的《开门》(Opendoor)和加布里埃拉cabezon camara的《中国铁的冒险》(The adventures of China Iron)。这些小说可以被理解为一种虚构的尝试，试图想象社会和家庭组织的新方式，这种方式将允许两性之间的流通，从而产生颠覆性和解放性的做法。这两项建议在深度、范围、效力和激进程度上有所不同，但它们都打破了既定秩序，同时质疑历史和文化神话，同时打破了政治统治的框架。
{"title":"Cruces textuales y reconfiguraciones del deseo: De Leonor Silvestri a Iosi Havilio y Gabriela Cabezón Cámara","authors":"María A. Semilla Durán","doi":"10.58221/mosp.v115i3.6814","DOIUrl":"https://doi.org/10.58221/mosp.v115i3.6814","url":null,"abstract":"La proposición de este artículo consiste en leer, a la luz de los conceptos vertidos por Leonor Silvestri en Ética amatoria del deseo libertario y las afectaciones libres y alegres, dos novelas: Opendoor de Iosi Havilio y Las aventuras de la China Iron de Gabriela Cabezón Cámara. Ambas podrían inscribirse en un intento ficcional de imaginar nuevas formas de organización social y familiar que incluyan la circulación entre los géneros, como instancias posibles e incluso fundadoras de prácticas subversivas y, como tales, emancipadoras. Las dos propuestas son de diversa profundidad, extensión, eficacia y radicalidad, pero ambas rompen los órdenes establecidos y, a la vez, cuestionan mitologías culturales e históricas y hacen estallar los marcos políticos de la dominación. \u0000The proposal is to read two novels following the ideas displayed by Leonor Silvestri in Ética amatoria del deseo libertario y las afectaciones libres y alegres: Opendoor by Iosi Havilio, and Las aventuras de la China Iron by Gabriela Cabezón Cámara. These novels could be understood as a fictional attempt to imagine new ways of social and family organisation, ones that would allow circulation between genders, in order to produce subversive and emancipated practices. The two propositions are different in depth, extent, effectiveness and radicality, but both break the established order and, at the same time, question historical and cultural mythologies, while blowing up political domination’s frameworks.","PeriodicalId":41279,"journal":{"name":"MODERNA SPRAK","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71362595","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-04DOI: 10.58221/mosp.v115i3.6847
N. Pascual
El presente ensayo investiga el regalo que el 24 de marzo de 2020 el sitio pornográfico Pornhub ofrece a los usuarios como entretenimiento durante el confinamiento por el coronavirus. Investiga las razones públicas de este presente y el incremento en el consumo de porno que se produce a raíz del aburrimiento que genera la cuarentena. Propone que si bien Pornhub procura protegernos del COVID-19, la reciprocidad a la que nos obliga su obsequio no es simétrica. This essay investigates the gift that on March 24, 2020, the pornographic site Pornhub offers users as entertainment during the confinement due to the Coronavirus. It investigates the public reasons motivating the gift, and the increase in porn consumption caused by the boredom generated by the quarantine. It proposes that while Pornhub may intend to help protect consumers from COVID-19, the reciprocity its gift obliges us with is not symmetrical.
{"title":"La pornografía en los tiempos del coronavirus","authors":"N. Pascual","doi":"10.58221/mosp.v115i3.6847","DOIUrl":"https://doi.org/10.58221/mosp.v115i3.6847","url":null,"abstract":"El presente ensayo investiga el regalo que el 24 de marzo de 2020 el sitio pornográfico Pornhub ofrece a los usuarios como entretenimiento durante el confinamiento por el coronavirus. Investiga las razones públicas de este presente y el incremento en el consumo de porno que se produce a raíz del aburrimiento que genera la cuarentena. Propone que si bien Pornhub procura protegernos del COVID-19, la reciprocidad a la que nos obliga su obsequio no es simétrica. \u0000This essay investigates the gift that on March 24, 2020, the pornographic site Pornhub offers users as entertainment during the confinement due to the Coronavirus. It investigates the public reasons motivating the gift, and the increase in porn consumption caused by the boredom generated by the quarantine. It proposes that while Pornhub may intend to help protect consumers from COVID-19, the reciprocity its gift obliges us with is not symmetrical.","PeriodicalId":41279,"journal":{"name":"MODERNA SPRAK","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48862262","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-04DOI: 10.58221/mosp.v115i3.6844
Gina Oxbrow
La película The Duke of Burgundy (Peter Strickland, 2014) parece, a primera vista, una película de pornografía blanda al estilo de Bilitis (David Hamilton, 1977) debido a sus bucólicos paisajes verdes en un ambiente aparentemente burgués. El film narra la relación sadomasoquista entre Cynthia, una acomodada académica y conocida entomóloga, y su joven amante, criada sumisa y aprendiz, Evelyn. Las dos viven juntas en un sitio sin nombre o contexto, más bien una pornotopía de deseo desenfrenado. Sin embargo, cuando se interpone la rutina doméstica, comienza a producirse un desequilibrio entre la dominación, la fantasía, la satisfacción y la representación. A lo largo de este trabajo, pondremos de relieve los guiños constantes a las películas de Jess Franco, Armando Bó y Luis Buñuel, lo que nos enfrenta a un pastiche de la representación pornotópica cinematográfica, no solo de las relaciones lesbianas, sino también una parodia sadomasoquista. Se trata de una subversión de aquella pornografía mainstream, dirigida exclusivamente a una mirada masculina heterosexual. En esta película el deseo femenino se empodera a través del desarrollo psicológico de las protagonistas, pues estas no son concebidas como mero objetos de deseo para el espectador, sino como sujetos que viven su sexualidad a plenitud. At first sight, The Duke of Burgundy (Peter Strickland, 2014) might seem to be a soft-porn film in the style of Bilitis (David Hamilton, 1977) due to the recurring backdrop of bucolic green and leafy landscapes within an apparently bourgeois setting. The film centres on the sado-masochistic relationship between Cynthia, a prosperous academic and well-known entomologist, and her younger lover, who is also her submissive maid and research apprentice. They live together in a de-contextualized location with no name, reminiscent of a pornotopia of unfettered desire. Yet, once mundane domestic routine takes over, this leads to an imbalance between domination, fantasy, satisfaction and role-play. In the following analysis, we shall highlight the constant explicit nods by the director to the films of Jess Franco, Armando Bó or Luis Buñuel, which thus result in the film becoming more of a pastiche of pornotopic cinema productions not only of lesbian relationships, but it ends up being a sadomasochistic parody, too. We are now confronted with a subversion of mainstream pornography, usually directed at a stereotypically male heterosexual audience. In this production, female desire is empowered by means of the psychological development of the lead characters, as they are not represented as mere objects of desire for the viewer’s pleasure, but as subjects enjoying their own sexuality to the full.
{"title":"¡Pinastri!: la metamorfosis del deseo sadomasoquista y la subversión de la fantasía pornotópica en The Duke of Burgundy","authors":"Gina Oxbrow","doi":"10.58221/mosp.v115i3.6844","DOIUrl":"https://doi.org/10.58221/mosp.v115i3.6844","url":null,"abstract":"La película The Duke of Burgundy (Peter Strickland, 2014) parece, a primera vista, una película de pornografía blanda al estilo de Bilitis (David Hamilton, 1977) debido a sus bucólicos paisajes verdes en un ambiente aparentemente burgués. El film narra la relación sadomasoquista entre Cynthia, una acomodada académica y conocida entomóloga, y su joven amante, criada sumisa y aprendiz, Evelyn. Las dos viven juntas en un sitio sin nombre o contexto, más bien una pornotopía de deseo desenfrenado. Sin embargo, cuando se interpone la rutina doméstica, comienza a producirse un desequilibrio entre la dominación, la fantasía, la satisfacción y la representación. A lo largo de este trabajo, pondremos de relieve los guiños constantes a las películas de Jess Franco, Armando Bó y Luis Buñuel, lo que nos enfrenta a un pastiche de la representación pornotópica cinematográfica, no solo de las relaciones lesbianas, sino también una parodia sadomasoquista. Se trata de una subversión de aquella pornografía mainstream, dirigida exclusivamente a una mirada masculina heterosexual. En esta película el deseo femenino se empodera a través del desarrollo psicológico de las protagonistas, pues estas no son concebidas como mero objetos de deseo para el espectador, sino como sujetos que viven su sexualidad a plenitud. \u0000At first sight, The Duke of Burgundy (Peter Strickland, 2014) might seem to be a soft-porn film in the style of Bilitis (David Hamilton, 1977) due to the recurring backdrop of bucolic green and leafy landscapes within an apparently bourgeois setting. The film centres on the sado-masochistic relationship between Cynthia, a prosperous academic and well-known entomologist, and her younger lover, who is also her submissive maid and research apprentice. They live together in a de-contextualized location with no name, reminiscent of a pornotopia of unfettered desire. Yet, once mundane domestic routine takes over, this leads to an imbalance between domination, fantasy, satisfaction and role-play. In the following analysis, we shall highlight the constant explicit nods by the director to the films of Jess Franco, Armando Bó or Luis Buñuel, which thus result in the film becoming more of a pastiche of pornotopic cinema productions not only of lesbian relationships, but it ends up being a sadomasochistic parody, too. We are now confronted with a subversion of mainstream pornography, usually directed at a stereotypically male heterosexual audience. In this production, female desire is empowered by means of the psychological development of the lead characters, as they are not represented as mere objects of desire for the viewer’s pleasure, but as subjects enjoying their own sexuality to the full.","PeriodicalId":41279,"journal":{"name":"MODERNA SPRAK","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47705571","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-04DOI: 10.58221/mosp.v115i3.6808
Mariola Pietrak
La violencia sexual constituyó parte del plan sistemático de tortura durante la última dictadura argentina. La literatura, incluso la de ficción, demuestra cómo el régimen represor volvía pornográficos los cuerpos de las mujeres presas en su doble lógica vejatoria: dictatorial y patriarcal. En diálogo con otros textos culturales (“Cambio de armas” de Luisa Valenzuela o Putas y guerrilleras de Miriam Lewin y Olga Wornat, por ejemplo), “Ni cumpleaños ni bautismos” de Mariana Enriquez formula la denuncia de aquellas prácticas recurriendo a la retórica parapornográfica —de pornografía obtusa, como dirían Roland Barthes y Fabián Giménez Gatto (2011)— que abre el campo de sentido a lo espectral. Esta deriva hacia lo pornogramático y lo fantástico crea nuevas formas de discursividad para narrar no solo aquella experiencia inefable, vuelta tabú, sino también el trauma enquistado en la sociedad. El presente trabajo muestra cómo la discursividad pornográfica en el relato de Enriquez vuelve operativo el potencial contrasistémico de la postpornografía, poniéndola en relación con la crítica de la violencia sexual durante la última dictadura argentina. Sexual violence was applied systematically as part of the torture plan during the last Argentinean dictatorship. Literature, even of fictional variety, shows how the repressive regime turned the bodies of imprisoned women into pornography in accordance with its double vexatious logic: dictatorial and patriarchal. In dialogue with other cultural texts (“Cambio de armas” by Luisa Valenzuela or Putas y guerrilleras by Miriam Lewin and Olga Wornat, for example), “Ni cumpleaños ni bautismos” by Mariana Enriquez formulates the denunciation of those practices; it resorts to parapornographic rhetoric of obtuse pornography in terms of Roland Barthes and Fabián Giménez Gatto (2011), opening the field of meaning to the spectral. This drift towards the porno-grammatic and the fantastic creates new discursive forms to narrate not only this ineffable, tabooed experience, but also the impact of trauma on the society. This article analyses the ways in which the pornographic discursiveness in Enriquez's story exploits the contrasexual and countersystemic potential of post-pornography, putting it in relation to the criticism of sexual violence perpetrated during the last Argentinean dictatorship.
在阿根廷最后一个独裁时期，性暴力是有系统的酷刑计划的一部分。文学作品，甚至是小说，都展示了专制政权如何在独裁和父权的双重逻辑中，将被监禁的女性的身体变成色情作品。在对话文化与其他案文(“武器换”游击路易莎Valenzuela或妓女和Miriam Lewin和奥尔加Wornat,例如),“生日或洗礼“马里亚纳Enriquez提出指控的那些做法诉诸言论parapornográfica色情—更具实效,如Roland Barthes的眼睛和费边首相府Gatto(2011年)—打开光谱领域方面。这种向色情和幻想的转变创造了新的话语形式，不仅讲述了不可言说的、禁忌的转变，也讲述了社会中根深蒂固的创伤。在这篇文章中，我们分析了Enriquez的作品中关于性暴力的论述，并将其与对阿根廷最后独裁时期性暴力的批评联系起来。在阿根廷最后的独裁统治期间，性暴力作为酷刑计划的一部分被系统地实施。文学，甚至是各种虚构的文学，都显示了专制政权如何按照独裁和父权双重令人厌恶的逻辑，将被监禁妇女的身体变成色情作品。在与其他文化文本的对话中(例如Luisa Valenzuela的“Cambio de armas”或Miriam Lewin和Olga Wornat的“Putas y guerrilleras”)，Mariana Enriquez的“Ni birthday Ni bautismos”谴责了这些做法;它度假村parapornographic rhetoric of obtuse儿童色情in terms of Roland Barthes和费边首相府Gatto(2011年)、《franciois field of意义to the spectral。这种向色情语法和幻想的转变创造了新的话语形式，不仅叙述了这种不可言说的禁忌体验，而且还叙述了创伤对社会的影响。本文分析了Enriquez故事中的色情话语如何利用后色情的对比性和反系统潜力，并将其与阿根廷最后独裁统治期间对性暴力的批评联系起来。
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Pub Date : 2021-06-04DOI: 10.58221/mosp.v115i3.6841
María Del Pino Santana Quintana
Gaspar Noé, uno de los realizadores más controvertidos del panorama cinematográfico actual, a quien Paul B. Preciado incluye en la llamada "nouvelle vague post-porno", cuestiona el modelo establecido de representación del sexo en el cine construyendo imágenes que bordean la pornografía. En su polémico filme Love (2015), rodado en 3D, el director franco-argentino recurre a la estética formal y narrativa del lenguaje cinematográfico para filmar de forma creativa y libre de prejuicios una sexualidad abierta y transgresora que huye de las convenciones del discurso pornográfico tradicional y hegemónico, optando por una mirada autoral. Gaspar Noé, one of the most controversial directors in the current film industry, whom Paul B. Preciado includes in the so-called “post-porn nouvelle vague”, questions the dominant mode of sex representation in film by constructing images verging on pornography. In his provocative 3D film Love (2015), the French-Argentinian filmmaker makes use of the formal and narrative aesthetics of film language to innovatively shoot a transgressive sexuality that discards the visual conventions of traditional and hegemonic porn films in favour of an auteur-driven gaze.
加斯帕noe是当今电影界最具争议的导演之一，保罗·b·普雷西亚多(Paul B. Preciado)将他列入了所谓的“后色情新浪潮”(new vague)，他通过构建接近色情的图像来质疑电影中对性的既定表现模式。争议电影Love(2015年),电影,导演franco-argentino 3D电影语言和叙事手法来拍摄正式美学创意无偏见性开放transgresora逃离惯例传统色情和霸权,选择看一看autoral。加斯帕noe，当代电影界最具争议的导演之一，保罗·b·普拉西亚多(Paul B. Preciado)在所谓的“后色情新模糊”(后色情新模糊)中，通过对色情作品的建构形象质疑电影中性别表现的主导模式。在他的挑衅性3D电影《爱》(2015)中，法裔阿根廷电影人利用电影语言的形式和叙事美学，创新地拍摄了一种越界的性行为，打破了传统和霸权色情电影的视觉传统，取而代之的是作者驱动的视角。
{"title":"Disidencia porno en Love (2015) de Gaspar Noé","authors":"María Del Pino Santana Quintana","doi":"10.58221/mosp.v115i3.6841","DOIUrl":"https://doi.org/10.58221/mosp.v115i3.6841","url":null,"abstract":"Gaspar Noé, uno de los realizadores más controvertidos del panorama cinematográfico actual, a quien Paul B. Preciado incluye en la llamada \"nouvelle vague post-porno\", cuestiona el modelo establecido de representación del sexo en el cine construyendo imágenes que bordean la pornografía. En su polémico filme Love (2015), rodado en 3D, el director franco-argentino recurre a la estética formal y narrativa del lenguaje cinematográfico para filmar de forma creativa y libre de prejuicios una sexualidad abierta y transgresora que huye de las convenciones del discurso pornográfico tradicional y hegemónico, optando por una mirada autoral. \u0000Gaspar Noé, one of the most controversial directors in the current film industry, whom Paul B. Preciado includes in the so-called “post-porn nouvelle vague”, questions the dominant mode of sex representation in film by constructing images verging on pornography. In his provocative 3D film Love (2015), the French-Argentinian filmmaker makes use of the formal and narrative aesthetics of film language to innovatively shoot a transgressive sexuality that discards the visual conventions of traditional and hegemonic porn films in favour of an auteur-driven gaze.","PeriodicalId":41279,"journal":{"name":"MODERNA SPRAK","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71362657","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-04DOI: 10.58221/mosp.v115i3.6805
Ángeles Mateo del Pino
la naturaleza del porno ha cambiado mucho en las últimas décadas y con ello hemos asistido a su masiva proliferación, divulgación, difusión, distribución y consumo, hasta llegar a lo que se ha denominado sociedad pornoficada (Lust 2008, Han 2018). No obstante, a la par ha surgido una nueva manera de entender lo porno, aquella que subvierte los códigos –estéticos, políticos y discursivos– de la pornografía mainstream, con la intención de atentar contra la heteronormatividad, el binarismo sexo/género y apostar por nuevas narrativas de placer; es lo que se conoce con el nombre de postpornografía y pornoterrismo. El objetivo que nos anima en este monográfico no es otro que interrogar y cuestionar los mecanismos de producción sexual; debatir en torno a las sexualidades y la pornografía dominante, así como dar a conocer otras representaciones disidentes y otras subjetividades deseantes. Revisar los textos pornográficos, postpornográficos y pornoterroristas nos permite explorar, desde un marco interseccional, cómo se entrelazan distintas categorías: género, sexo, clase social, nacionalidad, etc. A la vez que una mirada hacia/desde América Latina nos ayuda a comprender las especificidades de esos espacios en un contexto glocal. Talking about pornography in the 21st century is still difficult: porn is uncomfortable. However, the nature of porn has changed a lot in recent decades and with it we have witnessed its massive proliferation, dissemination, diffusion, distribution and consumption, to the point of reaching what has been called a pornified society (Lust 2008, Han 2018). However, at the same time, a new way of understanding porn has emerged, one that subverts the codes - aesthetic, political and discursive - of mainstream pornography, with the intention of attacking heteronormativity, the sex/gender binarism and betting on new narratives of pleasure; this is what is known as post-pornography and pornoterrorism. The aim of this dossier is none other than to interrogate and question the mechanisms of sexual production; to debate sexualities and the dominant pornography, as well as to make known other dissident representations and other desiring subjectivities. Reviewing pornographic, post-pornographic and pornoterrorist texts allows us to explore, from an intersectional framework, how different categories are intertwined: gender, sex, social class, nationality, etc. At the same time, a look towards/from Latin America helps us to understand the specificities of these spaces in a glocal context.
在过去的几十年里，色情的性质发生了很大的变化，我们目睹了它的大规模扩散、传播、传播、分发和消费，直到达到所谓的色情社会(Lust 2008, Han 2018)。然而，与此同时，一种理解色情的新方式出现了，它颠覆了主流色情的美学、政治和话语规范，意图攻击异性恋、性/性别二元主义，并押下新的快乐叙事;这就是所谓的后色情和色情。在这本专著中，激励我们的目标正是质疑和质疑性生产的机制;讨论占主导地位的性和色情作品，以及其他持不同政见的表现和其他渴望的主体性。回顾色情、后色情和恐怖主义文本，让我们从一个交叉的框架出发，探索不同类别是如何交织在一起的:性别、性别、社会阶层、国籍等。从拉丁美洲的角度来看，这有助于我们理解这些空间在全球本地背景下的特殊性。在21世纪谈论色情仍然很困难:色情是不舒服的。然而，近几十年来，色情的性质发生了很大的变化，我们目睹了它的大规模扩散、传播、扩散、分配和消费，达到了所谓的色情社会的程度(Lust 2008, Han 2018)。然而，与此同时，出现了一种新的理解色情的方式，这种方式颠覆了主流色情的美学、政治和论述性规范，其目的是攻击异性恋、性/性别二元性，并依赖于新的快乐叙事;这就是所谓的后色情和色情恐怖主义。本文件的目的无非是质疑和质疑性生产的机制;讨论性行为和占主导地位的色情作品，并使其他持不同政见的代表和其他渴望的主体性为人所知。在审查色情、后色情和色情恐怖主义文本时，我们可以从一个交叉的框架中探索不同类别是如何相互关联的:性别、性别、社会阶层、国籍等。与此同时，面向拉丁美洲的视角有助于我们在全球范围内了解这些空间的特殊性。
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