In On Female Body Experience: "Throwing Like A Girl" and Other Essays, Iris Marion Young examines the feminine modalities representing women in contemporary industrial and commercial society. She ...reveals the "root" of these modalities, which she refers to as the state of "self-reference." The main task of the present paper is to extend Young's understanding of femininity by arguing that this state of "self-reference" is rooted in the state of "reversibility." Such rootedness is essential to Young's concept of femininity, as it explains the constitution of the objectified state that represents feminine experience. It also justifies the three aspects of her definition of femininity: the non-essentiality of femininity, the structural conditions that constitute women's situations in a certain society, and women's lived experiences according to these situations. This paper is mainly inspired by Maurice Merleau-Ponty's existential and phenomenological approach, as represented in his Phenomenology of Perception and The Visible and the Invisible. It is also inspired by Edmund Husserl's concept of "double senses" as presented in his Thing and Space: Lectures of 1907. An exploration of Young's definition of "femininity" in relation to arguments related to essentialism is followed by a discussion of her argument that the modality of self-reference is the root of the other feminine modalities. The rest of the paper looks at how her understanding of femininity can be extended by presenting the concept of reversibility as the root of the formation of the state of self-reference and the other feminine modalities. keywords embodied mind, existential phenomenology, femininity, reversibility, self-reference, intentionality
This contribution presents the first German translation of the Inno alla Morte (1828) by Caterina Franceschi Ferrucci (1803-1887), an Italian writer and intellectual who has been inexplicably ...neglected by Italian literary tradition. The commentary shows that the author's dantesque vision of paradise, narrated by a female lyrical I, creates a progressive image of women which is diametrically opposed to the morally strict ideal of femininity of her own theoretical and pedagogical writings. Il contributo propone per la prima volta una traduzione in tedesco dell'inno alla Morte (1828) di Caterina Franceschi Ferrucci (1803-1887), scrittrice e intellettuale dimenticata dalla tradizione storico-letteraria italiana. Nel commento si evidenzia come, a partire da una visione dantesca del paradiso di un io lirico femminile, l'autrice crei un'immagine estremamente progressista della donna, agli antipodi della rigidita morale dell'immagine femminile che espone nei suoi scritti teorici e pedagogici.
Affective meditation on the Passionwas one of the most popular literary genres of the high and later Middle Ages. Proliferating in a rich variety of forms, these lyrical, impassioned, script-like ...texts in Latin and the vernacular had a deceptively simple goal: to teach their readers how to feel. They were thus instrumental in shaping and sustaining the wide-scale shift in medieval Christian sensibility from fear of God to compassion for the suffering Christ.Affective Meditation and the Invention of Medieval Compassionadvances a new narrative for this broad cultural change and the meditative writings that both generated and reflected it. Sarah McNamer locates women as agents in the creation of the earliest and most influential texts in the genre, from John of Fécamp'sLibellusto theMeditationes vitae Christi, thus challenging current paradigms that cast the compassionate affective mode as Anselmian or Franciscan in origin. The early development of the genre in women's practices had a powerful and lasting legacy. With special attention to Middle English texts, including Nicholas Love'sMirrorand a wide range of Passion lyrics and laments,Affective Meditation and the Invention of Medieval Compassionilluminates how these scripts for the performance of prayer served to construct compassion itself as an intimate and feminine emotion. To feel compassion for Christ, in the private drama of the heart that these texts stage, was to feel like a woman. This was an assumption about emotion that proved historically consequential, McNamer demonstrates, as she traces some of its legal, ethical, and social functions in late medieval England.
El artículo está dedicado a funcionar en el tipo moderno de formación de palabras en ruso con el sufijo phrase omitted (?) / - phrase omitted (?) como un medio para expresar la categoría derivada de ...la feminidad. El material lingüístico del estudio está representado por 459 lexemas con el sufijo phrase omitted (?), que funciona en contextos modernos. Se dan las características semánticas y estilísticas del tipo considerado de formación de palabras. Se llega a la conclusión sobre la productividad y la universalidad de las feminitivas phrase omitted (?) / - phrase omitted (?) en el ruso moderno, lo que les permite permanecer en el centro de la categoría de feminidad de formación de palabras.
In recent years there has been rising popular discourse around 'toxic masculinity', and the problems of a hegemonic gender structure that facilitates male violence and misogyny. In the public debate ...over whether toxic masculinity is fact or fiction, 'toxic femininity' is often raised by men's rights activists and others as an anti-feminist retort, to suggest that women can be 'toxic' too. This paper provides a sketch of how the term has been used so far, in tandem with an overview of the limitations of the more extensively discussed idea of 'toxic masculinity'. This paper suggests that rather than deploying 'toxic femininity', it is more useful to consider what might be 'toxic' about some approaches to femininity. Drawing on existing theories of femininity, including emphasised, hegemonic, normative, patriarchal femininity, pariah femininities, and femmephobia, this paper offers the notion of 'rigid femininities' to explain the structures that keep us locked into a 'toxic' gender system. This paper utilises the term toxic femininity as a jumping-off point for theorising femininity broadly. In theorising femininity, this paper offers a conceptualisation of the 'toxic' attachments that reinforce the gendered power structure/essentialized gender.
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