This sole hiatus, is it the anus? Is it the mouth? The same opening fulfills both functions. The entry is the exit. This bodily multifunction- ality not only produces the dread of a categorical aporia but also echoes the monstrous conjuncture of agent and passive object exemplified by the unification of ensnaring tentacles and awaiting hole.
That this duality also defines the vagina as both sexual entrance and reproductive exit further confirms that the organ that remains unnamed is the very one that most agitates the text and its author. This orifice, then, represents both the birthplace of masculine agency and its grave.
It beckons temptingly as a source of great reproduc- tive and libidinal power and, at the same time, figures masculine desire as deathly danger. If you have this kind of encounter, do not be curious; make your escape.
One enters amazed, one exits terrified. This inelegance produces a syntactic hiccup that makes the reader pause in trepidation mixed with anticipation. The scene between this octopus and Gilliatt anticipates his death at the hands of that woman. Within a short period, the word pieuvre had come to denote a woman who captivated men, inducing them to spend all their money on her pleasures.
One depiction from the March 31, , edition of La vie parisienne see fig. Another drawing from Le journal amusant from June 16, see fig. So that we may understand her success stems not from artistic merit but from exhibit- ing her core asset, two connoisseurs, one with binoculars perfectly aimed, gaze appreciatively at her crotch, which serves as focal point for both the individual sketch and the larger series.
The final image, exceeding its allocated visual space, displays the absolute reversal of the gender dichotomy: her growing hair has morphed into tentacles that easily manhandle four miniaturized gentlemen helplessly squirming. Even Hugo, shown with his trademark protruding forehead tugging at the train of her dress, cannot exert sufficient authorial control to restrain the pieuvre.
The novella recounts the adven- tures of a typical pieuvre named Suzanne, who becomes fabulously wealthy and fashionable, leaving behind her a trail of suicides and depleted for- tunes. Speaking in the jocular tone of a good ole boy, the narrator alter- nates between condemning and marveling at her daring.
Though her frank conversation provides the author with the salacious story, he cannot abide her free speech because it extends that liberal principle beyond its tacit exclusions. In other words, the pieuvre offers a truth unvarnished by conventions that require women to hide behind veils, makeup, and other contrivances of female equivocation.
Liath, La pieuvre parisienne The Parisian Octopus. But her conviction in unfettered libidinal and capital dif- fusion runs counter to the contractuality that the narrator advocates.
Much like the Jews, often depicted as deracinated cosmopolitans, the octopussy is seen as sapping the vitality of the nation, alien to the social body and thus divested from both sexual tradition and financial nativism. That this liberation passes by an economically liberal agency that traverses national and sexual boundaries suggests that capitalism and feminism need not be seen as antithetical forces. At the same time, racially marking her body refigures as miscegenation the danger that the lower classes might rise from their subservient position.
Though but a minor character, this Florence comes to emblematize the moral degeneration into which the eponymous countess falls. If the noble lady cannot be properly labeled a pieuvre since she is married, rich, and aristocratic from the onset , she comes to incarnate the male paranoia that all women have the potential for pieuvrisme. This sexual imbroglio is facilitated by another reprobate, Titiane, a sadistic prince who inflames the censori- ous narrator. These flamboyant signs of racial and gender transgression announce his nefarious influence and the taint of categorical dissolution that he spreads.
As these novels show, Suzanne and Florence personify the fear that men might become superfluous, sexually and financially. Indeed, were it not for the capital detained by men and from which the octopussy has such ease separating them, the men in these works would be com- pletely unnecessary.
Speaking for the silent previous generations of women who have been used and abused by men, Suzanne enacts a self-conscious policy of returning the repressed to the scene of financial and erotic action. The affect the octopussy produces is mired in an apprehen- sion, proper to middle-class white men, that agency might escape their oligarchic control and be more democratically distributed.
Virility consists not only in confronting death on the fields of war [. That these defense mechanisms surface as a crisis in masculinity, in which statist and bellicose penetrations supplement the insufficiency of the biological one, suggests how much discursive and sexual competition the octopussy provides to the phallus.
Thus, while the octopussy serves first and foremost as a mas- culinist foil, she may also work as a symbol of the political and social demands of other excluded classes. Rain fell in it, filth oozed in it, all the rivulets of the courtyard dripped into it. These ideological offenses are collapsed into a basic disgust related to anality and cathected upon a symbolic architecture that foreshadows the dreadful anatomy of the octopussy.
To become convinced that the octopus is supremely config- ured to activate anxieties about the precarity of the symbolic order, its privileges, and structural exclusions, we need only look at a more recent instance. With her butch personal style cropped haircut, black leather bodice, throaty voice , Ursula, assisted by two slithering, fey eels sexual outcasts like her , incarnates the menace of gender bending and the rejection of anatomical destiny.
Once secured, she grows to enormous proportions, while the king shrinks to a flaccid seaweed. She is finally given the needed organs from her restored father once she is ready for contractual reproduction. As in Hugo, Ursula makes a living by pulling her prey into her depths, a seashell that duplicates the architecture of her genitalia as marine landscape. A lamp, with an opaque envelope and seeded with flowers, spread over the objects a soft light almost like obscurity. As we have seen, the octopussy derives her power from a male anxiety in dire need of reassurance.
What purpose does it serve? But beyond the vain male hope that she can be contained, the octopussy also stands for a sort of aesthetic potency. Even more graphically, he connects himself to the octopussy in one of his original ink drawings for the novel see fig. Reproduced in Les travailleurs de la mer. Paul Meurice and Gus- tave Simon. Like Hugo faced with his readers, the pieuvre uses ink to bewilder and beguile those it engages in battle.
But why has this aesthetic snare been figured in the anatomy of woman? The terror in this orifice—the public face of the octopussy—represents a break with eighteenth-century aesthetic theories that locate, according to the logic of male physical superiority, the sublime in objectively impres- sive phenomena. Rather, we have in the orifice a seemingly unthreatening detail. But it is one that replicates itself like the hundred suction cups of the octopus. This reproduction turns the creature and its orifice into a met- onymic displacement for other forces sapping male privilege.
The octopus can thus become a metaphor for the exploitation of consumer desires in capitalist society. Her gendering frames the conquest of consumption as the disposses- sion of masculine autonomy.
Here, male self-control finds its antipode in the twin evils of the octopussy and opium. You are taken, yes, taken by the octopus of advertising, stickier and more tenacious yet than the one from The Workers of the Sea by Mr.
At the same time, the octopussy provides a solution in the form of her successes, which depend not on erecting a monument to willful indepen- dence but rather on letting herself be saturated by capital and channeling its flows to her advantage. The primary motive was to have a better understanding of the Igbo in order to avoid a repeat of. How does our understanding of Africa shift when we begin from the perspective of women?
What can the African perspective offer theories of culture and of gender difference? This work, as unique and insightful today as when it was first published, brings together a wide variety of African academics and other researchers to explore the links between literature, popular culture and theories of gender.
Beginning with a ground-breaking overview of African gender theory, the book goes on to analyse women's. This work examines the work of a group of African women writers who have emerged over the last forty years.
While figures such as Chinua Achebe, Ben Okri and Wole Soyinka are likely to be the chief focus of discussions of African writing, female authors have been at the forefront of fictional interrogations of identity formation and history. The Politics of Gender and the Culture of Sexuality outlines theories of gender within the intellectual paradigm of the triple heritage: Islam, Africanity, and the West.
In doing so, the author and editor present a multifaceted and dynamic theoretical discourse of gender. Frieda Ekotto, Kenneth W.
Harrow, and an international group of scholars set forth new understandings of the conditions of contemporary African cultural production in this forward-looking volume. Arguing that it is impossible to understand African cultural productions without knowledge of the structures of production, distribution, and reception that surround them, the essays grapple with the shifting notion of what "African" means when many African authors and filmmakers no longer live or work in Africa.
Female anatomy includes the external genitals, or the vulva, and the internal reproductive organs. This article looks at female body parts and their functions, and it provides an interactive diagram. The Pook Manifesto [The other book written by Pook. Longer and more detailed, and covers more ideas. If you pick up only one book after the Book of Pook, make it this one. The anatomy of power by John Kenneth Galbraith, unknown edition, Share this book.
Last edited by Clean Up Bot. March 2, History. Post Posted: Sat pm. Nicole Abadee. We feature three books written by female. The Anatomy of Power is a book written by Harvard economist John Kenneth Galbraith, originally published in by Houghton Mifflin sought to classify three types of power: compensatory power in which submission is bought, condign power in which submission is won by making the alternative sufficiently painful, and conditioned power in which submission is gained by persuasion.
Anatomy of female genital tract 1. Anatomy and Physiology is a dynamic textbook for the two-semester human anatomy and physiology course for life science and allied health majors. The book is organized by body system and covers standard scope and sequence requirements. Its lucid text, strategically constructed art, career features, and links to external learning tools address the critical teaching and learning challenges in.
While Continue reading "The Anatomy of Power". The Anatomy of Female Power is one of the most enlightening "out-of-print" treatise on "the other side of gender" -masculinist view. After reading this highly enlightening, but a controversial.
Oxidation is a source of heat, light and power. The female reproductive system consists of a series of organs that function together to produce and nourish viable offspring. The organs that comprise the female reproductive system include the ovaries, the uterine tubes, the uterus, and the y glands are also important for the nourishment of offspring, but are not part of the female reproductive system as such.
This book is not meant as a step by step or a formula art is not a for - mulaic pursuit so do not study as such. This book is also not meant to solve all your problems, which can only be done by you through diligent study and hard work. This book is intended to be a guide through the world of figure drawing.
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