LEnfer des femmes (French Edition)
Williams Williams, Linda. Sound is thus not authentication but stimulation. Audio-Vision: Sound on Screen. Translated by Claudia Gorbman. New York : Columbia University Press. It designates a voice specific to cinema that is heard and not seen.
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Sound thus constitutes another way in which women are constructed in and across different media as objects of sexual availability. Volume becomes a quantitative measure of pleasure: to turn her on is to turn her up. The sounds of sexual pleasure are highly codified, and it is largely through pornography that the aural codes for voicing our own pleasure, real or faked, are constructed.
Pornography has also been a site that responds to debates about female pleasure and the problems sex raises. View all notes Pornography, and culture at large, could be understood as providing female sexual pleasure with one grand, loud narrative. To question this sound is to question the representability of this pleasure and the ways it has been made intelligible.
Noise is a term used for sounds that are not acknowledged as meaningful, acceptable or pleasurable, sound that bothers or disrupts. This is not to suggest a definition of noise that denies semiotic content. Nor does this definition seek out a material or ontological conception of noise like that sought by Hainge Hainge, Greg. Noise Matters: Towards an Ontology of Noise. City of Noise. Urbana : University of Illinois Press. It is what is at stake in the gendered realm of the auditory in pornography that I draw out here.
Breillat thus ties female noise back to the body and re-establishes a spatial realism through a use of sound that is particular to the body seen from this distance on screen. Figure 1. Of course, the sounds of female genitals are present in pornography — it is a sound which pornographic foley goes to great lengths to render. This simultaneously figures the body as already sounding, at the same time as it suggests in borrowing sound typical of the horror genre the horror this body inspires. Instead it is sounding at its surface, at the slightest touch, and is in fact not heard at all in scenes of penetrative sex.
However, a better comparison might be something like a stethoscope, an instrument of listening rather than amplifying, and specifically an instrument for listening that takes place at the surface of the body, bringing sound into focus only alongside the scale and proximity of the close-up shot. Or in this case, body and listener. The Audible Past. The sex scenes with Siffredi employ aural close-ups of his sounds rather than hers, his breaths, as if they were hot in our ear see Figures 2 and 3.
The film image itself becomes a listening organ, an image of a cine-ear, that identifies with the female subject and constructs her as an active listening subject. Just as the camera became an instrument of listening at the point of confronting the female anatomy, so too does it at this moment of relation become an organ of listening, aligned with the female protagonist as subject.
Figure 2. Figure 3. Translated by Charlotte Mandell. New York : Fordham University Press. Pleasure is made to speak, but is inattentive to the sonority of communication itself — resonance — that Nancy identifies in listening. Figure 4. Though audition is one of the distant senses, according to Laura U. However, this presence is one we strain towards.
Auschwitz : 70 ans après, les derniers témoins de l'enfer
The camera, in taking on the embodiment of an auditory organ, as well as an organ of vision, constructs listening as an active and fine mode of attention, one receptive to different noises and lower volumes. Breillat is thus interested in contained noises, favouring quieter though not silent expressions of response and resistance which figure pleasure as non-appropriable and unknowable.
The noises remain close to their source, incorporated and attached to the body, cast out across a small range.
La Maladie de la mort. Paris : Minuit. The Malady of Death.
Translated by Barbara Bray. New York : Grove Press. Although within the filmic diegesis, these noises remain a representation, they can be reconciled with a form of realism in the way that, as a listener, our auditory sense is addressed by an actual little noise that presents itself and engages us in a real play of volume. London : Wallflower. She was then 17, taking classes at the Colarossi Academy, and moving into her first studio.
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Alfred Boucher, a sculptor from Nogent-sur-Seine, kept an eye on how her works were progressing, but when he decided to go to Italy, he asked Auguste Rodin to take his place. Their works influenced each other and merged. In the spring of , their relations grew very tense, and she fled to England. On her return, Rodin drew up and signed a paper in which he undertook to be her patron, and marry her. They worked just a few feet from one another.
She tried to obtain a State commission for its production in marble, but had to alter the composition and clothe its dancers; her new version, produced in , was eventually championed by the inspector of fine arts, Armand Dayot; the order was never actually signed, but the work was cast in bronze and exhibited in , much admired as a masterpiece in harmony with the Symbolist spirit and Art Nouveau.
But there was a famous Valse , and a sad Valse ; while it brought her recognition, her life was suddenly shattered: was in fact the year when she broke up with Rodin. Gaspard F. Goffman E. Granjon F. Haenni P. Hammami S. Honneth A. Jouili J. Karimi H.
L amine A-S. Analyse du site Saphirnews. La Rocca F.
Larsson G. Historical and Contemporary Debates, Farnham, Ashgate. Le Breton D. Mestiri S.
Hell hath no fury like a woman scorned
Une approche transculturelle, Paris, Vrin, La vie morale. N aef S. R ebillard F. Rigoni I. R izza C. R oyer D. Steiner Ph. Tcholakova A. Voirol O.