Poststructuralist Research Articles

Toward a Reflexive History of Modern Subjectivity

Toward a Reflexive History of Modern Subjectivity

들뢰즈의 감각론에 의한 패션 일러스트레이션의 비정형 신체 표현 연구

The digital environment pushes away the epistemology centered on reason and puts sensuality and sense in its place. This study focuses on the formless body image in fashion illustrations based on the theory of sensationalism of Gilles Deleuz—a post–structuralist who revaluates the senses. This study examines the Deleuze’s Francis Bacon: the Logic of Sensation, wherein Deleuze applies Bacon’s works to his theory. The body images in the paintings of Bacon have distorted, twisted and ugly figures, which are related to Deleuze’s sensationalism. The concepts of ‘Corps sans Organes’ and ‘Figures’ for deconstruction of representation were used as tools for analysis. Expressive characteristics of the body images in Bacon’s paintings could be analyzed as hysteria, diagram, segmentation of body and becoming animals. Accordingly, the characteristics of the formless body images in fashion illustrations are categorized into the sensory body image, the abstraction of body, the segmentation of body and the body image of become animals. Through these results, the concepts of unrealistic and virtual body image in fashion illustrations can be understood and applied to creative expression techniques.

Da leitura à dele(i)tura: apagamento e temporalidade na literatura digital

Operações textuais de apagamento foram largamente empregadas na literatura impressa de vanguarda nos séculos XX e XXI, provocando reflexões críticas acerca dos processos de significação emergentes da dialética de impressão e supressão de signos gráficos sobre uma página. Na maioria dessas obras, o leitor modelo foi concebido como uma entidade discursiva posterior ao tempo da enunciação em que se daria o apagamento da materialidade discursiva, cabendo-lhe, portanto, apenas a leitura do produto já apagado, cortado ou rasurado. Por sua vez, graças a recursos de interatividade, algumas obras da literatura digital ensejam novas temporalidades na dinâmica de apagamento-escritura, especialmente instanciando o leitor como contemporâneo a (e responsável por) essas operações que alteram o corpo do texto. Dado o exposto, procede-se neste artigo a uma análise de duas obras de literatura digital – Petite brosse à dépoussiérer la fiction, de Philippe Bootz (2005), e Degenerative, de Eugenio Tisselli (2005) – à luz de pressupostos teóricos do pós-estruturalismo francês acerca da relação entre escrita e apagamento. Indaga-se, nessa perspectiva, como diferentes operações de deleção, no âmbito da literatura digital, criam uma dobra topológica na qual o leitor retorna sempre ao presente – ou a um presente – do delito contra o texto, ensejando um apagamento que paradoxalmente destrói a textualidade, mas constrói a leitura.

Novas tentativas de controle moral da educação: conflitos sobre gênero e sexualidade no currículo e na formação docente

A sociedade brasileira tem vivenciado um intenso embate hegemonico sobre as concepcoes de genero e sexualidade articuladas nas politicas publicas de curriculo e formacao docente. Grupos politicos e religiosos conservadores tem desenvolvido um ataque agressivo ao que denominam “ideologia de genero” na educacao. A partir de uma analise dos processos de formacao dos discursos pela igualdade de genero e diversidade sexual nas politicas educacionais brasileiras ao longo das ultimas decadas e da emergencia de discursos reativos (neo)conservadores no contexto atual, o texto busca discutir as condicoes de (im) possibilidade desse confronto hegemonico. A analise e desenvolvida em dialogo com os debates pos-estruturalistas no campo da educacao e, em especial, com a Teoria Politica do Discurso de Laclau e Mouffe. O trabalho aponta que ambos os polos discursivos engajados no conflito atual sao construcoes historicas contingentes e que o debate no campo da educacao tem sido predominantemente realizado a partir do parâmetro comum das politicas de acomodacao e gestao estrategicas das diferencas. Palavras-chave: curriculo, formacao docente, genero.

Postmodernism, Marxism and Versions of the Future: an Interview with Professor Martin Jay / Postmodernismo, marxismo y versiones del futuro: una entrevista con el profesor Martin Jay

A través de su interés en el postmodernismo y crítica de las metanarrativas, en esta entrevista el profesor Martín Jay aborda algunos de los principales temas que han centrado la atención de la teoría histórica recientemente. Temas como el giro hacia la experiencia histórica, la contribución de Hayden White a la comprensión de la narrativa y el lenguaje, o la importancia de Fredic Jameson, son traídos a colación en este texto. El profesor Jay también vuelve a algunos de sus temas iniciales y conocidos como la llamada French Theory, el filósofo alemán Theodor W. Adorno y la presencia del marxismo en los Estados Unidos.Palabras clavePostmodernismo, capitalismo tardío, marxismo, experiencia histórica. AbstractThrough his interest in postmodernism and in criticism to metanarratives, in this interview Professor Martin Jay tackles some of the main issues that have lately focused the attention of historical theory. Topics such as the turn towards historical experience, Hayden White’s contribution to understanding of narratives and language, or the importance of Fredric Jameson, are brought up in this text. Professor Jay also comes back to some of his former well-known themes such as the so-called French Theory, the German philosopher Theodor W. Adorno and the presence of Marxism in the United States.Key wordsPostmodernism, late capitalism, Marxism, historical experience.

Spectres of French Theory: Australian Translations in the Work of Alex Martinis Roe and Shaun Gladwell

The impact of French Theory upon the past 30 years of contemporary art practice in Australia is multi-faceted. The term ‘French Theory’, identified by Kristeva as an Anglophone, or more precisely A...

Keeping Up with the Fishes

Keeping Up with the Fishes Robert T. Tally Jr. (bio) Stanley Fish, America's Enfant Terrible: The Authorized Biography Gary A. Olson Southern Illinois University Press www.siupress.com/books/978-0-8093-3476-6 192 Pages; Print, $32.50 A historian of twentieth-century celebrity culture might include in a footnote the curious emergence, brief duration, and inauspicious decline of a "star system" in academic literary studies in last quarter of the century. The recent publication of an authorized biography of Stanley Fish, who was among the best known of those stars in the brave o'er-hanging firmament of higher education in the 1980s and 1990s, offers an occasion to reflect upon this strange moment in modern literary studies. After all, Fish was not merely one among many stars at the time, but he also developed a persona as well as a critical theory that actively fueled this sort of academic glamour, decadence, and celebrity in literary studies at the time. In his fascinating study of the rise, spread, and ultimate decline of "French theory" in America (French Theory: How Foucault, Derrida, Deleuze, & Co. Transformed the Intellectual Life of the United States [2003 orig.; 2008]), François Cusset identified the emergence of "academic stars" as one of the more striking side-effects of the phenomenon, but he also noted that these "stars" became better known for their roles in the "star system" than for their own writings or ideas. Thus, for example, "scores of Americans have heard of Stanley Fish's car collection, Cornel West's salary, Stephen Greenblatt's circle of friends, Donna Haraway's provocative wardrobe, and queer theorist Eve Sedgwick's late conversion to Buddhism before—and, also, all too often instead of—knowing their academic works." Note that Cusset says "scores," not hundreds or thousands; after all, the academic star system and its audience of stargazers was not particularly vast. Among such stars as Judith Butler, Gayatri Spivak, Henry Louis Gates, Jr., Edward Said, Richard Rorty, and Fredric Jameson, Fish stands out for a couple of reasons: first, because he became perhaps the most famous, appearing in well-publicized debates, writing a regular online column for the New York Times, and generally making himself known to an audience far beyond that found in either Milton Studies or academe more generally; but second, because—unlike some of other "public intellectuals" (Said, Gates, West, and so on)—Fish develops a theory and practice more or less designed to celebrate celebrity. Becoming a "star" was one of Fish's professional aims, as Olson's "authorized biography" of him makes clear. One might even go so far as to say that, if there were not a star system for him to join, he'd have had to invent one. One might even say that he did. In Stanley Fish, America's Enfant Terrible, Olson endeavors to tell a Horatio Alger story of Fish's rise to fame and fortune, and in this tale, Fish's insatiable desire for both renown and the remuneration that frequently comes with it provides the backbone of the narrative. We learn early on that a "working-class kid" from Providence, Rhode Island, vowed that "he would one day become the highest-paid English professor in the nation—which essentially meant the entire world. He would achieve that goal." Olson follows Fish from his elite prep school to an Ivy League education, then to ever more lucrative positions at such institutions as Berkeley, Johns Hopkins, Duke, and the University of Illinois at Chicago. Olson takes care to note how canny Fish is in parlaying campus visits and public lectures into lucrative tenured positions. According to Olson, "whatever he was offered by a university, he would demand more—and he usually got it." For over fifty years, Fish has been without question a gifted teacher, a productive scholar, and a diligent provider of service to his departments, universities, and the professional at large. Yet this is not enough for Olson. Beyond being a mere literature professor and academic administrator, Fish comes off as a tabloid celebrity, a national "star," in this account. There is a certain puckish...

As afinidades selvagens: maio de 68, junho de 2013

Savage affinities is an essay which draws proximity lines concerning the protests of May 68 in France and of June 2013 in Brazil. A first draft of this essay was orally presented at the “Commemorative Cicle of May 68 - 50 years of uprisings”, in Ponta Grossa, Parana, Brazil, in 2018’s first semester. We propose a metalinguistic and political dialogue which arises from an ensemble of May 68 signs and the emergence of an unprecedented intellectual scenario that is currently acknowledged as French Theory. The key argument travels through a series of elective affinities among the French May and the Brazilian June, and discusses the various ways in which those uprisings transformed the role of intellectuals, their connection to the social and the political fields, the young characteristic of rebellions and its openness to the common ground of political struggles, reconfiguring notions as democracy, everyday life and the horizons of a collective future.

Ted Blodgett and the Pedagogy of Wonder

Ted Blodgett and the Pedagogy of Wonder Monique Tschofen E.D. Blodgett was a man of great and expansive learning, driven by curiosity about dead languages and far-away literatures and by those that were near. He was a masterful poet whose delicate works garnered Canada's highest awards. Others in this tribute issue address what he meant to the discipline of Comparative Literature and to Canada. I will talk about how he was a teacher. Everyone who studied with him will agree that they have never met a man so finely attuned to things beautiful and painful, complex and simple, funny and serious, and so accomplished in building a life saturated with the intensities that come from reflection and creation. It is important to know that all of these pursuits were meaningful to him because they could be shared. Over 50 years, working in eleven universities and colleges in five countries, he taught courses as diverse as the Classical Tradition, Dante, Chaucer, Provençal and Old French Lyric, Ancient and Contemporary World Literature, Literary Criticism, Forms of Poetry, early and contemporary Canadian and Québécois Literature, and Feminist Literary Theory. One of his former graduate students remarked that "he made you feel as though you could study anything, as long as you did it with some sincerity." He supervised 22 PhDs and 25 MAs, who wrote about topics as diverse as the ballad in Old Provençal, Japanese Shishosetsu, visual poetry in Russian and Ukranian literature, and Canadian film. These supervisees have gone on to teach at universities around the world, make films, write poetry and plays, and join professions such as law. In a paper published in CRCL/RCLC in 2013, "Comparative Literature in Canada: A Case Study," Blodgett asked a question about which he thought deeply: "What is the teaching of literature for?" In this essay, he pondered the great shifts as the discipline's foci shifted from philological approaches to New Critical ones, and then became informed by French theory. He described his regret that the discipline in [End Page 541] Canada had later failed to respond swiftly enough to accommodate Cultural Studies. He offered opinions on the hazards and merits of translation. He reflected on how Comparative Literature must wrestle with the history of ideas, asking which ideas might be engaged, in what spirit, and in what way. In the classroom, Blodgett answered this question by putting the text first and treating it with great reverence. I completed my PhD under his supervision, but my career in Comparative Literature began when I found myself in his Canadian Comparative Literature class in my first year of undergraduate studies. I was dazzled. It was the first time in my life that I saw what a brilliant mind can do as it passes over and through a text with patience and care. We sat around a wooden seminar table in the Old Arts Building on the University of Alberta campus, the light dappled from the tree outside, Blodgett's giant body humbly bent over the text, reading Alice Munro. He read passages aloud, in his deep baritone, and showed us how the prose was crafted. This text, which on first reading seemed to be dull, bogged down with the everyday, suddenly became a wonder to behold-a thauma idesthai. We saw the work's brilliance, its symmetry and balance, its textures and gestures. Thaumata are luminous things, retrieved from everyday materials and crafted with extraordinary skill. Thauma idesthai is Homer's description of what it feels like to behold daidalon such as Arete's purple yarn, Aphrodite's textiles, Odysseus's tunic, Achilles's shield, and other kinds of craftsmanship such as pottery and dance and song. "What is the teaching of literature for?" For Blodgett, it was for cultivating the experience of wonder. It was clear that for him, wonder was the experience he had when he observed a finely-wrought text. His private quest for wonder is what drove him to close his office door at noon every day and gently pluck out Renaissance madrigals on his lute. (How many scholars today use their lunch hour to play the lute?) Yet it was the classroom...

French Écocritique: Reading Contemporary French Theory and Fiction Ecologically by Stéphanie Posthumus

Reviewed by: French Écocritique: Reading Contemporary French Theory and Fiction Ecologically by Stéphanie Posthumus Keith Moser Posthumus, Stéphanie. French Écocritique: Reading Contemporary French Theory and Fiction Ecologically. UP of Toronto, 2017. ISBN 9781-4875-0145-7. Pp. 264. As the subtitle implies, Posthumus creates a rich theoretical framework from which it is possible to interpret both French theory and fiction through an ecological lens. Given that it is difficult to argue with the assertion that "ecocriticism has had little traction in French and Francophone literary studies" (20), this study is a welcome addition to an area in which research is scant. In four rather lengthy main chapters, Posthumus attempts to begin to fill this gap by encouraging other scholars to contribute to the environmental conversation. Not only does the author highlight the originality and diversity of French ecological thought that is long overdue for recognition in [End Page 236] mainstream circles, but she also demonstrates a formidable grasp of the complex issues that are emblematic of the environmental humanities in many different literary and philosophical traditions. After underscoring the"long-lasting effect" (4) of Luc Ferry's influential essay Le nouvel ordre écologique on French environmental philosophy, Posthumus promotes the work of thinkers such as Félix Guattari, Michel Serres, Bruno Latour, and Jean-Marie Schaeffer who write from a less anthropocentric and reductionistic perspective than Ferry (4). Posthumus takes advantage of the theories developed by these aforementioned philosophers to offer new insights related to the works of four contemporary writers: Marie Darrieussecq, Marie-Helene Lafon, Jean-Christophe Rufin, and Michel Houellebecq. Posthumus's close readings of French environmental theory and fiction revolve around the crucial notions of "ecological subjectivity, ecological dwelling, ecological politics, and ecological ends" (8). Although the controversial and sometimes overtly polemical author Houellebecq is a household name, one of the merits of this book is that it implores more readers to discover Darrieussecq, Lafon, and Rufin, who rarely garner the critical attention they deserve. Similarly, Posthumus convincingly posits that Jean-Marie Schaeffer has yet to receive the accolades that he has earned as one of the foremost voices in the field of French environmental philosophy. The entire book is well written and meticulously documented, but chapters three and four stand out as being indicative of impeccable scholarship. Given that both Rufin's and Houellebecq's protagonists often criticize the environmental movement, it is initially surprising that Posthumus decided to include them in this study. Displaying an uncanny ability to maintain a critical distance as a researcher, Posthumus identifies common threads that exist between Latour and Rufin in chapter three and Schaeffer and Houellebecq in the following section. Specifically, Posthumus asserts that both Latour and Rufin have strong convictions related to the necessity of reintegrating the human into ecological politics. Despite the numerous differences between Schaeffer and Houellebecq, Posthumus notes that they promulgate "a way of rethinking and resituating the human in the larger question of life on this planet" (11). Posthumus's book appears destined to become one of the most important resources for scholars interested in French ecological thought and fiction. It also promises to spark more interest in a field of study that has been relegated to the periphery in French and Francophone Studies. Keith Moser Mississippi State University Copyright © 2018 American Association of Teachers of French

The Economy of Salvation

This paper extends Jean-Luc Nancy’s engagement with St. Anselm. Specifically, while Nancy is primarily concerned with Anselm’s Proslogion, this paper brings Nancy’s deconstructive protocols to bear on Anselm’s Cur Deus Homo. Of particular interest is Nancy’s treatment of the semiological association of economics and metaphysics. Ultimately, the “supplemental logic” developed here allows us to read Anselm’s dependence on the category of debt in the context of prayer. Finally, by stressing Nancy’s reception of French literary theory and poststructuralism, this paper offers an intervention into the burgeoning theological reception of Nancy, which generally sees him as a basically anti-Christian philosopher of Heideggerian, not Derridean, immanence.

Contemplar el horizonte: Dos traducciones hispanoamericanas del “Canto notturno di un pastore errante dell'Asia” de Giacomo Leopardi

In the field of translation criticism, French theorist Antoine Berman proposes a hermeneutic approach that leads to the consideration of the translated text not as a mere exercise of linguistic transposition, but as evidence of a much more complex subjectivity that engendered it. Starting from the three fundamental concepts of Berman’s theory (“translating position”, “translation project” and “horizon of the translator”), a comparison of two translations of the poem “Canto notturno di un pastore errante dell’Asia” by Giacomo Leopardi allows us to discover the two personalities that lie behind them: the Colombian humanist Antonio Gomez Restrepo and the Mexican professor and poet Jose Luis Bernal. The aim of this paper is to seek the reasons of their translation choices within their respective historical and cultural contexts (Colombian Romanticism and the contemporary Mexican literary circle) as well as in the work of the two translators, both of them poets and holders of two opposing attitudes towards language (both foreign and native), and towards the task of translation. Submitted: 20/05/2017 Accepted: 16/03/2018 How to cite: Franzetti, R. (2018). Contemplar el horizonte: Dos traducciones hispanoamericanas del Canto notturno di un pastore errante dell'Asia de Giacomo Leopardi. Mutatis Mutandis , 11 (1), 208-233

The Visual Diaries of Joaquim Paiva: 128 Diaries Project

In an essay about the body inscribed in the personal diary, I developed the notion of a diary as an extension of the diarist’s body.... This assertion was provoked by Michel Foucault’s reflection upon “self-writing” in Antiquity, more specifically by his explanation of the letter as a means of creating “presence.”... This concept of the “face-to-face” meeting can be applied to the relationship between diary and diarist, since the diary is a repository of immediate impressions of life experiences. Moreover, the reenactment of pleasures and pains in the diary creates strong ties between the diarist and his/her writing practice. According to Emmanuel Levinas’s concept of hospitality, the subject is morally compelled to accept the stranger or the other within his/her personal space.... French theorist Alain Montandon ... sees the writing of the self as a way of objectification of the subject that, in this relation to oneself as another, recollects and reunites the self through writing.... It is in this sense of “the gathering of bodily experiences through verbal and visual signs” that Joaquim Paiva’s 128 Diaries Project can be understood as a proper and more complete example of a diary as a second body.

BRUNO LATOUR’S ONTOLOGY

The article concerns the material developed by the French sociologist and philosopher Bruno Latour. On the example of a number of works belonging to the field of researches called actor-network theory, the author, not setting out to consider the entire theoretical project of Latour on redefining the ontological foundations of social science, undertakes only an attempt to describe the ontology created by the French researcher. The author analyzes a number of key theoretical principles in the concept of Bruno Latour, which are intimately associated with certain ontological assumptions. Consideration of the main ontological categories and concepts involving in a number of B. Latour's texts (actor-network, irreduction, hybrid and others of the kind) is performed to show that the ontology explicated in the works of the French theorist can be regarded as flat ontology. To them, in addition to the ontology of Bruno Latura, it is often added the ontological constructions of M. Delanda, G. Harman, L. Bryant. The author refers to a comparative comparison of the ontologies of B. Latour and M. Deland, produced by the American philosopher, Graham Harman, complementing the analysis of the Laturian ontology with a set of characterizing features. Concluding the review, the author summarizes the consideration of Bruno Latour’s ontology, noting the realism, anti-essentialism and actualism of the philosophical construction of the aforementioned French researcher.

The emergence of ecological readings : rethinking ourselves through literature. French Ecocritique - Reading French Theory and Fiction Ecologically. Stephanie Posthumus. Posthumus, Stephanie. 2017. French Ecocritique: Reading Contemporary French Theory and Fiction Ecologically. University of Toronto Romance Series. Tortonto: University of Toronto Press.

Les bouleversements climatiques sans precedent dans l’histoire de notre espece que l’on connait aujourd’hui ne peuvent etre cantonnes a la sphere environnementale. Ils sont lies, par ce qui les cause, a l’ensemble de nos societes, de nos cultures et du systeme economique dominant. Il convient d’adopter une approche de plus en plus comparatiste et transdisciplinaire afin de repondre a une urgence globale. Sans analyser les crises ecologiques et en s’appuyant sur les specificites culturelles d’un corpus francais, Stephanie Posthumus propose d’allier la theorie et la fiction pour creer de nouveaux concepts permettant d’articuler des subjectivites inedites. Cette alliance se fait par des lectures «ecologiques», qui feront emerger quatre concepts phares: la subjectivite ecologique, l’habitat ecologique, l’ecologie politique et les fins ecologiques. Tous sont interrelies et essentiels pour repenser les hommes et leur relation a leur environnement. Avancant par questionnements autant que par reponses, S. Posthumus nous conduit a nous interroger sur la relation entre l’humain et la nature, autant que sur le role (actuel et futur) de la litterature dans un monde en transformation.

The genealogy of contagion discourse in French cultural theories

The genealogy of contagion discourse in French cultural theories

Dead Theory: Derrida, Death, and the Afterlife of Theory

Dead Theory: Derrida, Death, and the Afterlife of Theory

Sex Wars and the Contemporary French Moral Panic: The Productivity and Pitfalls of Feminist Conflicts

Abstract Over the past few years, right-wing political groups in France have made sexuality a focus of their concerns. Since the debate about political lesbianism in 1980, feminist research on sexuality in France has been markedly limited to research on abortion, contraception, and sexual violence. In this article, I look back at the US feminist “sex wars” as a crucial turning point in feminist thought on sexuality and examine different aspects feminists address when speaking about sexuality. I argue that the multiplicity of levels of thinking sex brought up by US feminists opposes a structural- and an individual-based perspective. These multiple levels crosscut on the topics of sexual practices, identities, and morals, the very themes of the sex wars. Together they compose the technology of power (Foucault 1976) that has been constructed under the name of sexuality in the nineteenth century. The contributions of the US feminist debate on sexuality help to broaden an understanding of sexuality in today's politics in France. But in taking a closer look at the US feminist sex wars, it appears that they actually coincide with the US construction of French feminism and French theory. The trajectories of Monique Wittig's and Michel Foucault's works provide examples of the productivity of translations. They also stand for different feminist strategies of thinking sex that after a closer examination do not seem so radically opposed any more. Through this analysis the deconstruction of sexuality as an entity is suggested in re-embracing the critical questions set by the authors of the sex wars.

Poliitiline esteetika ja selle empiirilised rakendused: nõukogude ühismajand kui spetsiifiline tajumaailm / Soviet Aesthetics and its Empirical Applications: the Collective Farm as a Specific Sensorium

Artikkel keskendub nõukogudeaegse, eriti stalinistliku perioodi ühismajandi mudeli põhjalloodud spetsiifilise ruumi- ja ajakogemuse kirjeldusele ja analüüsile. Püüdes esile tuua mõningaid iseloomulikumaid jooni selles tajukogemuses, vaatleb artikkel ühismajandit ühelt poolt radikaalseid muutusi produtseeriva sotskolonialistliku tööriistana, teisalt aga uut inimtüüpi tootva seadena. Käesolev uurimus mõtestab vaadeldava nähtuse spetsiifikat eelkõige esteetiliste uuringute raames, keskendudes tajukogemuse poliitiliselt suunatud teisenemisele. Uurimus on osaliselt inspireeritud ka autori isiklikust lapsepõlvekogemusest hilise ühismajandi tingimustes, selle eesmärgiks oli jõuda mainitud sensooriumi tähenduslike elementide sidusama analüüsini, võttes aluseks tekstid, mis ühel või teisel viisil peegeldavad uuritava sensooriumi tingimusi. The article explores the specific sensorium of collective farms, especially kolkhozes, as they were created during the Soviet era in the countryside of occupied Estonia. It aims at examining the collective farm primarily not as an economic system, but as an aesthetic phenomenon and as a universal utopian model that served to translate the Marxist-Leninist ideology and its multiple implications into reality. It has to be emphasized that aesthetics is not defined here in the traditional meaning of referring to a set of aesthetic values, nor is it considered as referring to the arts, but is interpreted as referring etymologically to the experience of time and space, both individually and collectively.During the World War II, as a result of the withdrawal of the Nazi army, Estonia was reoccupied by the Soviet army. Although some sovkhozes or state-owned farms were created already shortly after the beginning of the first period of occupation and annexation of Estonia by Soviet Russia in 1940, it was only in the late 1940s that it was decided by the party authorities to proceed to a rapid and massive forced collectivization that followed more or less the model already widely in use in the whole Soviet Union. The effects of the forced collectivisation, accompanied by a mass deportation that took place on March 1949, turned out to be extremely devastating for the local communities in Estonia. The forced collectivisation paved the way for radical changes of the whole sensorium.Nevertheless, the article does not aim at establishing historical facts or bring new information concerning the systematic Sovietisation of the society, it rather tries to analyse the specific atmosphere that encompassed the human action. In order to examine the specific sensorium created in the collective farms of Soviet Estonia, the article makes use of some concepts borrowed from French theorists Henri Lefebvre and especially Jacques Rancière. Although neither Lefebvre nor Rancière have explicitly written about the Soviet system, it nevertheless appears that their concepts, for example that of production of space (and time) by Lefebvre or that of distribution of the sensible by Rancière are productive and relevant in elucidating the main features of the sense experience specific to the model of a collective farm. From the distribution and articulation of time and space to the ideologically determined modes of being that characterised the ordinary life of the workers in the early kolkhozes, the article attempts to determine the key features of what makes up the sensorium of collective farms. Undoubtedly, an important feature is a shift between the private and the collective; collective farms established a collective sensorium with its specific affective model, the private sphere of life being marginalised and controlled in most aspects. To illustrate the ideological pressure on society, it suffices to refer to the manifold utopian narratives, often naive and manipulative, which were spread systematically by party members, agitators and other proponents of collective farms. These utopian narratives attempted to convince everybody that kolkhozes stood at the forefront of modernisation and that their advantage over individual farming was self-evident.It has to be emphasised that collective farms, especially kolkhozes, submitted to the rule of the communist party and served as tools of Soviet neo-colonialist politics that attempted to rapidly change not only the mode of economic production, but also to produce a new mode of reality that would conform to the predicaments of the Marxist-Leninist ideology. Moreover, individual subjects were also invited, within the strict ideological limits, to contribute to the production of this new reality. Thus the production of a new sensorium was in fact accompanied by the production of new subjectivities, a necessary element on the way towards the utopian future where social antagonism would be eliminated and happiness and prosperity would be accessible to all who would accept the ideological requirements of the Soviet power.While shedding light on the transformations that took place within the complex sensorium of collective farms, this article argues that the sensorium of the collective farm played a crucial role in the Sovietisation of the whole society. Its establishment also functioned as a method of control that would exclude all deviations, thus contributing to the production of a new Soviet subjectivity.

A MASCULINIDADE HEGEMÔNICA ADVINDA DOS ENREDOS MIDIÁTICOS

Este artigo discute as manifestações sobre papéis de gênero e de sexualidade de meninos/as de cinco/seis anos de uma escola de Educação Infantil a partir de análise e discussão de cenas do filme Homem Aranha. Embora tal artefato seja o preferido dos meninos da turma, tal texto cultural, aqui concebido enquanto pedagogia cultural, dita modelos de conduta para meninos e meninas. Na fala dos meninos, ficou evidente o quanto internalizaram do que se apregoa como comportamento socialmente colocado como adequado aos homens: a valentia, a imposição da vontade a qualquer custo, a condição da mulher enquanto necessitada da proteção masculina, entre outros que definem a masculinidade hegemônica. A professora da turma reconhece ser necessária formação para instrumentalizar o corpo docente a tratar da temática sexualidade e que, por não saber como lidar com algumas situações que ocorrem, acaba por agir por instinto. Constata-se que a escola, devido ao despreparo dos/as professores/as, muitas vezes, atua de modo a reforçar alguns estereótipos. Utilizou-se, neste trabalho, as contribuições dos Estudos Feministas e dos Estudos Culturais numa perspectiva pósestruturalista de análise.