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Síða 14
In the aporia " I am the car , " in this logical contradiction , the whole dead - end street into which the body steers woman in our culture becomes recognizable . The passe becomes for woman a dead - end street - an impasse .
In the aporia " I am the car , " in this logical contradiction , the whole dead - end street into which the body steers woman in our culture becomes recognizable . The passe becomes for woman a dead - end street - an impasse .
Síða 19
It is of special histor- ical importance in this connection to indicate that the image of the most popular artificial human , namely Frankenstein's monster , was created by a woman , by Mary Wollstonecraft Shelley , in 1818 , at the ...
It is of special histor- ical importance in this connection to indicate that the image of the most popular artificial human , namely Frankenstein's monster , was created by a woman , by Mary Wollstonecraft Shelley , in 1818 , at the ...
Síða 20
How does the ego ( of woman ) form itself obliquely through the typical identifications of the subject , where it can recognize itself , if society either blocks the goals of identification for woman , or makes them diffuse or randomly ...
How does the ego ( of woman ) form itself obliquely through the typical identifications of the subject , where it can recognize itself , if society either blocks the goals of identification for woman , or makes them diffuse or randomly ...
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Efni
1 FallWinter 198889 | 2 |
Anorexia and Modernism or How I Learned to Diet | 28 |
Further Thoughts | 42 |
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