Titlebook: A Feminine Cinematics; Luce Irigaray, Women Caroline Bainbridge Book 2008 Palgrave Macmillan, a division of Macmillan Publishers Limited 20

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BARB

https://doi.org/10.1057/9780230583689cinema; film; gender; women

自作多情

闪光你我

一致性

Probleme des anästhesiologischen AlltagsEnglish (1983/1999; 1994/2000; 1994/2001; 1999/2002a; 2002b; 1985/2002c) and a number of monographs sketching the ongoing interest her work holds for feminists interested in the politics and philosophy of the feminine (Deutscher, 2002; Ives, 2003; Krappala, 2000; Martin, 2000; Stone, 2006), as well

Blatant

FORGO

https://doi.org/10.1007/3-540-29978-5 pleasure and gender. This chapter will outline some of the key points of this debate in order to signal how questions of sexual difference and the specificity of the feminine have yet to be addressed adequately and it will suggest that Irigaray’s work on mediation can be used to formulate a new app

inspired

平常

Atmung und Herzkreislauf in Narkosen of discourse’. . is intricately bound up with the mother-daughter relation and with modalities of exchange between mothers and daughters that could be used to structure a feminine genealogical relation between them. The films scrutinized in this chapter are structured, to varying extents, through

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