权益分类	功能权益	普通用户	{{item.name}}会员
{{category.name}}	{{benefitItem.name}}

Transforming the Bodily Imaginary: the Feminist Aesthetics of Virginie Despentes

改变身体想象：维吉妮·德斯彭特斯的女权主义美学

基本信息

批准号：
2388826
负责人：
金额：
--
依托单位：
King's College London
依托单位国家：
英国
项目类别：
Studentship
财政年份：
2020
资助国家：
英国
起止时间：
2020 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=studentship-2388826
关键词：
Transforming Bodily Imaginary Feminist Aesthetics

项目摘要

My PhD thesis will examine the transformational potential of the work of Virginie Despentes, tracing in her representations of deviancy a new feminist aesthetic that reconfigures the parameters of both women's bodies and women's writing. This critical study of Despentes, on whom no monograph has yet been written, will contribute to both French studies and feminist theory. Drawing on phenomenology and psychoanalysis, I will consider how Despentes' women transgress conventional modes of feminine bodily comportment, and how the subjectivity of marginal characters is paradoxically centred in her work. My proposal is that fictional representations of transgressive bodies resignify bodily norms, gradually transforming what I will term the 'bodily imaginary'.This notion of the bodily imaginary draws on Schilder (1935) and Merleau-Ponty (1945). Their works explicate how our body image is formed through individual and societal relationships, in which certain parts of the body are invested with affective and imaginative significance. Weiss (1999), and more recently Alcoff (2006) and Lennon (2019), have demonstrated that this investment is conditioned according to gender, race, class, sexuality, ability, and so on. Bodily imaginaries can thus be deeply harmful, but they remain radically open to change (Lennon, 2015). For Gatens, the imaginary body is 'socially and historically specific in that it is constructed by a shared language... and common institutional practices.' (1996: 11-12) My project here is to show that Despentes' work transforms this shared language and the imaginary it constructs. I will employ Butler's concept of resignification to elucidate the potential for acts of deviancy to reshape a norm. As such, creative work can alter the ways in which women's bodies are perceived; by reading Despentes' fiction with this in mind, I am drawing a clear connection between (extratextual) feminist politics and aesthetics.Whereas Felski proposed that we move beyond feminist aesthetics (1989), I will argue for the possibility of a new feminist aesthetics defined by bodily transgression and extremity from the turn of the 21st century. Quandt (2004) coined the term 'New French Extremity' to critique the 'shock tactics' of contemporary French cinema. I am advocating for a feminist rereading of this trend: Despentes' aesthetics are a specifically feminist endeavour in which women use their bodies to resist norms and harness creative power. Various critical studies will be informative for this conception of a new feminist aesthetics, notably Marks' The Skin of the Film (2000), Rye and Tarr's Focalizing the Body in Contemporary Women's Writing and Filmmaking in France (2006), Beugnet's Cinema and Sensation (2007), Jones' Representing Repulsion (2013) and Wilson's The Reclining Nude (2019).Overall, my project is informed by phenomenological, psychoanalytical, feminist and queer theory. Following Ahmed (2006) and Ince (2011), I am advocating not for a new methodology but rather for a renegotiation of the boundaries between these approaches, which itself reveals the potential for radical, 'politico-theoretical' readings of Despentes (Ince, 2011: 10). This project is thus intended as feminist praxis, as well as a theoretically important contribution to French studies. Benefitting from the invaluable expertise of Drs Siobhán McIlvanney and Ros Murray, my thesis is also intended as a step towards 'Despentes studies'. More can, and should, be written about an author who has so radically and consistently pushed boundaries, not only of taste and genre, but of women's bodily comportment and creative power.

我的博士论文将研究的转型潜力的工作的Despentes，在她的越轨行为的表示跟踪一个新的女权主义美学，重新配置的参数都妇女的身体和妇女的写作。这种对德彭特的批判性研究，将有助于法国研究和女权主义理论。借鉴现象学和精神分析，我将考虑如何Despentes的妇女超越传统模式的女性身体举止，以及如何边缘人物的主体性是矛盾地集中在她的工作。我的建议是，对违规身体的虚构表征重新意味着身体规范，逐渐改变我将称之为“身体规范”的东西。他们的作品阐述了我们的身体形象是如何通过个人和社会关系形成的，其中身体的某些部分被赋予了情感和想象的意义。韦斯（1999），以及最近的阿尔科夫（2006）和列侬（2019）已经证明，这种投资是受性别、种族、阶级、性取向、能力等因素影响的，因此身体的自我保护可能是非常有害的，但它们仍然对改变持根本开放的态度（列侬，2015）。对盖滕斯来说，想象中的身体是“社会和历史上特定的，因为它是由一种共同的语言构成的。和共同的机构惯例。（1996：11-12）我在这里的项目是要表明，德彭特的工作改变了这种共享的语言和它所构建的想象。我将采用巴特勒的概念，重新意义，以阐明潜在的越轨行为，以重塑规范。因此，创造性工作可以改变人们对妇女身体的看法;通过阅读德彭特的小说，我在脑海中画出了一个清晰的联系，（文本外）女性主义政治学和美学。而费尔斯基提出，我们超越女性主义美学（1989年），我将论证一种新的女性主义美学的可能性，这种美学从世纪之交起就被身体的越轨和极端所定义。Quandt（2004）创造了“新法国主义”一词来批评当代法国电影的“休克战术”。我主张对这一趋势进行女权主义的重新解读：德彭特的美学是一种特殊的女权主义努力，在这种努力中，女性用自己的身体来抵制规范，利用创造力。各种批评研究将为这种新的女性主义美学概念提供信息，特别是Marks的The Skin of the Film（2000），Rye和Tarr的Focalizing the Body in Contemporary Women's Writing and Filmmaking in France（2006），Beugnet的Cinema and Sensation（2007），Jones的Representing Repulsion（2013）和Wilson的The Reclining Nude（2019）。我的项目是由现象学，精神分析，女权主义和酷儿理论。继Ahmed（2006）和因斯（2011）之后，我主张的不是一种新的方法论，而是对这些方法之间的界限进行重新谈判，这本身就揭示了对德斯彭特进行激进的“政治理论”解读的可能性（因斯，2011：10）。因此，该项目旨在作为女权主义实践，以及对法国研究的理论重要贡献。受益于博士Siobhán McIlvanney和罗斯默里的宝贵的专业知识，我的论文也打算作为一个步骤，对“Despentes研究”。关于一位如此激进和一贯地突破界限的作家，我们可以也应该写更多的东西，不仅是品味和体裁，而且是女性的身体举止和创造力。