Le premier cycle de diffusion internationale du tango, dans les années immédiatement antérieures à la Grande Guerre, a eu Paris pour épicentre et les milieux aristocratiques et mondains de la capitale française comme lieu privilégié et premier d’inscription sociale. Un fort engouement pour la « nouvelle danse»s’ensuivit, ce qu’on appelle à l’époque « tangomanie»s’installa et, avec elle, sont nées des polémiques opposant partisans et adversaires d’une danse venue d’ailleurs et aux accents sexuels troubles. C’est ainsi en tout cas qu’elle (...) est perçue, au croisement de deux axes de réception principaux : érotisme et exotisme. Or ils sont étroitement liés. On en examinera les figures et leurs interactions dans la construction d’une image publique du tango promise à une réappropriation au-delà du seul contexte parisien et à une longue postérité qui se prolonge, à certains égards, jusqu’à aujourd’hui. (shrink)

Dans cet ouvrage directement tiré de sa thèse intitulée « Female Public Nudity in Belle Époque Paris » et soutenue en 2006 à l’université de Floride, Lela F. Kerley retrace et interroge le processus conflictuel qui a accompagné la normalisation de l’exhibition publique de la nudité féminine à Paris entre 1889 et 1914 sous l’effet d’expérimentations artistiques et de la prolifération du nu féminin dans le répertoire des music-halls. L’enquête s’intéresse aussi bien aux pratiques et motivations...

Avec le retour en force de l'histoire littéraire dans l'Université, un nouvel intérêt se fait jour pour les périodes quelque peu négligées par la critique. Comme d'autres tournants de siècles, la Belle Époque est de celles-là : outre leur fonction obligée de transition, les deux ou trois décennies qui précèdent la Grande Guerre souffrent sans doute de leur foisonnement intellectuel même, dont ne se dégagent pas vraiment ces grandes figures, ou ces écoles littéraires dûment définies qui..

"Qui domine la littérature mondiale?" demandait Strindberg. "Péladan, Gorki, Maeterlink, Kipling" répondait-il. De ces noms, seul celui de Péladan n'évoque plus un livre précis pour nos contemporains. Certains se souviennent d'un auteur de la fin du siècle dernier qui s'était rendu célèbre par ses extravagances vestimentaires : son pourpoint Renaissance et sa barbe à l'assyrienne dans le Paris de la Belle Epoque défrayait la chronique. Les journalistes ont aussi consacré une large place à ses démêlés avec d'autres occultistes. Ses (...) salons de la Rose-Croix, pour lesquels Satie composa des sonneries, eurent une grande renommée et sont importants pour qui s'intéresse à l'histoire de l'art. Péladan, avec un sens certain de la publicité, s'était proclamé S.A.R., titre assyrien qui en faisait un descendant mythique des Mages chaldéens. C'est ce titre qui a assuré sa notoriété jusqu'à nos jours. D'androgynes pervers en femmes violées, mêlant la magie aux thèmes décadents, ses romans présentent un tableau étonnant de la pensée fin de siècle. Ce texte veut démontrer que Joséphin Péladan, qui eut des admirateurs comme Jarry ou Paul Valéry, n'était pas qu'un dandy excentrique, un farfelu 1900 teinté d'ésotérisme mais un authentique écrivain. Il existe un récit de Borgès qui raconte l'histoire d'un peintre qui voulut faire un tableau de l'univers. Au bout de nombreuses années de travail, il avait peint un mur entier de personnages pour s'apercevoir qu'en fait il n'avait peint que son propre visage. Ce fut précisément la destinée de Péladan : l'auteur ne fit plus qu'un avec son personnage principal du Mage. Jamais son œuvre n'aura présenté une telle fusion entre imaginaire et réalité. (shrink)

continent. 1.4 (2011): 286—310. This mad play of writing —Stéphane Mallarmé Somewhere in between mathematics and theory, light and dark, physicality and projection, oscillates the poetry of Alessandro De Francesco. The texts hold no periods or commas, not even a capital letter for reference. Each piece stands as an individual construction, and yet the poetry flows in and out of the frame. Images resurface from one poem to the next, haunting the reader with reincarnations of an object lost in the (...) grass or a representation of a pear in a Dutch still life, embedded in cycles of cinematic close ups and multiple dimensions. As a whole, De Francesco’s oeuvre suggests, to use the title of one of his works, a redefinition —linguistic, epistemological, personal. The poem The End (un’agenda) (The End (an agenda)) opens with a quote by literary theorist Maurice Blanchot, which may be translated as follows: Speaking is not seeing. Speaking frees thought from this optical imperative that in the Western tradition, for thousands of years, has subjugated out approach to things, and induced us to think under the guaranty of light or under the threat of its absence.[1] In writing, De Francesco seeks to redefine our approach to things. His poems, like Blanchot’s writings, speak to both illuminate and to obscure. The reader hangs in an absence of reality within language that necessitates an attempt at interpretation, yet renders such a search ultimately futile. De Francesco draws the anonymous images that appear in this poem from the city of Paris, his current home. The fragmented narrative depicts an inner doubt of realness, calling for a confirmation of a physical existence beyond verbalization and cogitation. Cyclical references to film throw into question the reliability of the reality he creates. The light, sometimes red and safe, other times absent and murky, cannot necessarily be trusted as a guaranteed means of illumination. Blanchot’s distinction between language and visualization, and the relationship of each to reality, though linked specifically to The End (un’agenda) , can be a lens through which to read any of the three works that follow. assente obliqua (absent oblique) is composed of descriptions of six still life paintings, ranging from Dutch masterpieces of the seventeenth century to 1960s minimalism. The actual images of the paintings are absent, and the text is the sole source and object of a virtual reality created around the artwork. “Absent oblique” refers to the light source placed outside of the frame, which both informs and distracts viewing of the scene. Although mere description can be unreliable and unsatisfying in its necessary limitation, the representational act of description is shown as more than just a human want. It is a need, a means by which to grapple with an unsure reality. As the illustrations progress, they descend into abstraction and chaos. The precariously placed plate triggers the movement: the bottle bursts and the objects collapse into the movement of a tracking film camera. corpo estraneo in moto ascensionale (foreign body in ascending motion) is prose poetry in action. Its objective tone of description is skewed by the subjectivity of the narrative as horrific images are relayed in fragmented but matter-of-fact manner. A “foreign body” is both a mass of cancerous cells, and a corporeal description, and the poem takes the reader on a journey back and forth between the two, destination unclear. Beyond a questioning of the real, corpo estraneo in moto ascensionale is an examination of the possible. De Francesco’s poetry becomes a camera obscura through which to observe the constant flux of light and dark that blurs our reality. His work is colored by the idea of apo koinou , a Greek term meaning “from the common” that involves a construction of two clauses with a shared word or phrase. Through such melting of meaning, De Francesco creates a fluid ambiguity that is nonetheless grounded in bodily concepts. In assente obliqua , the reader is confronted with a description of a still life that rapidly transforms into a more chilling scene: the membrane of the mushroom in the basket emerges behind the white cloth a body could hide itself that asks for help In the realm of pure description, there is a mushroom that peeks out from behind a white cloth in a basket. Behind the white cloth, too, there could be a body, hiding, asking for help. Such an elision elicits disorienting mistrust in temporality, but also expands the planar possibilities of syntactical meaning. A white cloth is not merely a construct in still life painting, but veil that both shields and reveals potential mysteries. It is a proposed alternative to a traditional Western binary of subjectivity and objectivity. The apo koinou construction is rare in modern English, having slipped out of use after its resurgence in Old English poetry. De Francesco reintroduces this blur of object and subject relations into a modern light. He draws inspiration from a device used by Gruppo 63 founder and avant-garde poet Antonio Porta tended toward repetition of phrases in third person perspective. In Italian, it is perfectly grammatically correct to omit the subject, including only a verb conjugation. Gender, even humanity unknown, the subject dissolves into the action, thus giving to the poetry the power to change the reader’s perception of who or what is actually acting. To further push the relative boundaries of experience, De Francesco expands his written poetry into what he calls “reading environments.” In these sound experiments, De Francesco’s voice reading his poetry is manipulated by real time digital voice processing. The written is transformed to the spoken, and then injected with currents of electric sound. “At each activation of word in the darkness,” (from The End (un’agenda) ) language is permutated into a nonphysical yet all-encompassing being. In these projects, realized all over Europe, De Francesco continues his examination of the word’s potency beyond the page and into an “n-dimensional space,” where the lines between nature and affect are intertwined. To publish excerpts of De Francesco’s oeuvre is to show screen shots of full-length film, to read pull quotes from a philosophy treatise. In these poems, there are questions, not to be answered, but to be questioned again. The words will oscillate in and out of the square construction found in his poems, out of the borders of the page, out of the rectangle of the laptop screen. NOTES (1) Blanchot, Maurice. The Infinite Conversation . Trans. Susan Hanson. Minneapolis: University of Minnesota Press, 1993. 27. EDITORS' NOTE The .pdf above contains about twenty pages of translation and the original Italian poetry. Below we provide only a brief account. The End (an agenda) Parler, ce n’est pas voir. Parler libère la pensée de cette exigence optique qui, dans la tradition occidentale, soumet depuis des millénaires notre approche des choses et nous invite à penser sous la garantie de la lumière ou sous la menace de l’absence de lumière. —Maurice Blanchot in this n-dimensional space i could spy on myself from the cracks while going back and forth from the summer to the wardrobe from the night to the parking lot but something filters in through the half-closed shutters becomes an event enunciation we stay without explanation like parallel curves on the back of a solid growing older she enters the garden always repeats certain phrases the elevator to be redone the neighbor’s music the steps the pavement furls like the leaves of a fern when touched she is framed from behind while she moves rocking she covers distances slowly a bag overflows from the wardrobe something stirs inside but then the suitcase comes open not even by my hand it’s the objects that are starting to filter out the little red haired monster watches idling the appointments written on one of your agendas two years old still seem urgent each letter holds itself upright on the page with flourishes and arabesques each angle has its own geography i’m trying to describe the path the fingers trace on the carpet the zipper takes the opposite route we are suspended on the stairs above the water in the center is the summer seen from above the darkness of the city passes from one headlight to the next the surfaces of our arms cohere and are shiny underneath the blinking of a sign each pore is an open expanse the body dreams the hair gives form to the possible some daring swimmers were throwing themselves into the seine they swam upstream up to the first quay look there could exist behind the screen a room where even when the lamp is out and the curtains drawn even when the suitcase wasn’t closed everything seemed red everything calm construction of a four-dimensional tetrahedron by R. Courant – H. Robbins, What is Mathematics? Oxford University Press, 1941  . (shrink)

Les premières années du XXe siècle ont vu en France un essor de la presse féminine et de la production littéraire des femmes, marquées par une vogue de la poésie d’autant plus frappante qu’elle reste sans équivalent dans d’autres périodes. On ne saurait y voir un mouvement littéraire cohérent ni concerté – quoique certains commentateurs aient parfois, à la suite de Charles Maurras, parlé à ce propos de « romantisme féminin » –, et cette étonnante reconnaissance publique d’une poésie écrite (...) pa... (shrink)

Cet article analyse les débuts de la Revue du Mois, revue de culture générale à caractère scientifique créée en 1905 par le mathématicien Émile Borel. À une période où des périodiques de format similaire se multiplient, l’originalité de l’entreprise réside dans l’association d’articles présentant à un large public les enjeux des recherches récentes (en sciences exactes, expérimentales, mais aussi humaines), et de thèmes plus légers, comme des chroniques théâtrales et littéraires. En examinant la préparation des premiers numéros, l’article dévoile les (...) intentions et la mise en acte de ce projet. Il étudie notamment comment a été définie la ligne éditoriale, comment ambition scientifique et vocation généraliste ont pu coïncider, et comment la revue est parvenue à conquérir son public. (shrink)

La présente recherche prend appui d’une part sur les textes viatiques d’un groupe de voyageuses françaises appartenant au milieu de l’enseignement secondaire féminin et d’autre part sur leurs dossiers personnels conservés aux Archives Nationales. Le profil socioprofessionnel de ces éducatrices commande le caractère spécifique de leur voyage (pays de destination, motif du voyage, contraintes temporelles et financières) et de son écriture (discours qui sous-tendent le récit). Par la publication de ces textes au début du xxe siècle un genre particulier de (...) narration est créé : le récit de “voyage universitaire” féminin. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THE EUCHARISTIC THEOLOGIES OF LAUDA SION AND THOMAS AQUINAS'S SUMMA THEOLOGIAE THOMAS J. BELL Emory University Atlanta, Georgia MANY works associated with Thomas Aquinas stand both the Office and Mass for the Feast of Corpus Christi.1 The earliest witness to this association comes from two of Thomas's Dominican brothers and younger contemporaries, Tolomeo of Lucca and William of Tocco. Around 1317 Tolomeo wrote in his Historia Ecclesiastica: " Thomas (...) composed [the Corpus Christi Office] in full, including the lessons and all the parts to be recited by day or night; the Mass, too, and whatever has to be sung on the day." 2 William, in his Historia beati Thomae completed around 1320, lists the liturgy of Corpus Christi among Thomas's works and informs us that Thomas wrote the liturgy " at the request of Pope Urban [IV]." 3 It is known that on August 11, 1264, Urban, in the bull Transiturus, declared that the Feast of Corpus Christi was to be celebrated throughout Christendom according to a "new, Roman," liturgy.4 Thomas had returned from Paris to Italy, his 1 This does not mean that Thomas created the liturgy for the feast de nova. Rather it means that Thomas selected and combined older elements from the Scriptures, the Fathers, and existing liturgies, only venturing to write from scratch those hymns and prayers necessary for expressing the theological and devotional views central to the Feast of Corpus Christi. In other words, Thomas wrote or pieced together texts " proper " to the feast and united them with the " ordinary " texts of the Mass and Office. 2 James A. Weisheipl, Friar Thomas d'Aquino: His Life, Thought and Works (Washington, D.C., 1974), p. 177. a Ibid., pp. 132, 177. 4 Ibid., pp. 179, 183. For a partial translation of the bull Transiturus see also Darwell Stone, A History of the Doctrine of the Holy Eucharist (London, 1909), vol. 1, 344-46. This "new, Roman" liturgy promulgated by Urban IV was, indeed, a new 163 164 THOMAS J. BELL homeland, five years before the bull was published. Furthermore, by 1264 he had developed a "warm friendship" with Urban, whom we know to have commissioned Thomas to write several works between 1261 and 1265.5 These facts have led most scholars since the early fourteenth century to conclude that Urban's "new" liturgy was the work of Thomas.6 In recent years, however, Cyrille Lambot has questioned whether Thomas wrote or compiled the liturgy promulgated by Urban. He has noted that Reginald of Piperno, Thomas's amanuensis and companion from 1259 to 1274, did not include the liturgy for Corpus Christi in his list of Thomas's works. Moreover, the Dominican Order, like most Orders and dioceses, did not adopt Urban's liturgy for the Feast of Corpus Christi until 1317, when John XXII required its use throughout Western Christendom.7 If Thomas had written the liturgy, argues liturgy composed for the celebration of Corpus Christi. Around 1246 a certain John, a religious of Mont-Cornillon, had compiled a liturgy for the " Body of the Lord " that was in place throughout the diocese of Liege. Being so impressed by the solemnities of the Liege eucharistic celebration, Hugh of Saint-Cher, a Dominican and the cardinal legate of Germany, declared in 1252 that the feast of Corpus Christi was to be celebrated throughout the territory under his leadership. Jacques Pantaleon, the future Urban IV, knew the solemnities of Liege from his time as the city's archdeacon. It seems that upon his election as Pope, Urban was urged by many people to establish the Feast throughout Christendom. Eventually he did this with the publication of the bull Transiturus. For more details, see Weisheipl, Friar Thomas d'Aquino, pp. 178-79. 0 Weisheipl, Friar Thomas d'Aquino, p. 147. 6 The liturgy for the Feast of Corpus Christi that is associated with Thomas is not identical with the one currently used in both the Roman rite and Dominican rite. The modern texts for the Feast reflect the liturgical reforms that have occurred since Thomas's day. Notwithstanding these reforms, the Mass for the Feast (Cibavit eos), which includes Lauda Sion, has for the most part... (shrink)

RésuméOn prend comme point de départ la crise actuelle de l'idée de raison, en envisageant la possibilité de son dépassement au moyen d'une reposition de cette idée, pour arriver ainsi à un rationalisme nouveau que l'on peut appeler » humaniste «. Ce rationalisme doit prendre conscience, tout d'abord, de la condition strictement humaine de notre savoir en tant que différente d'une connaissance intellectuelle absolue, dans un sens tout à fait opposé à la vision rationaliste de l'époque moderne. Dans cette (...) ligne, l'on fait remarquer l'aspect » compositif « et » divisif « de notre démarche rationnelle et son caractère dynamique, en exposant les possibilités explicatives de cette compréhension dynamique en face des mathématiques et des sciences de la nature. Il faut aussi donner raison du fait métaphysique dans lequel naturellement débouche le rationnel. Le kantisme est considéré dans sa position programmatique et historique, en soulignant chez lui la forte empreinte rationaliste, qui amène à une fermeture à l'égard du dynamisme propre de la science. L'on constate, enfin, les limitations épistémologiques du réalisme aristotélicien, entraǐnant une certaine absolutisation de l'immédiat sensible, qu'un réalisme actuel pourrait bien dépasser par la noétique dynamique et humaniste.ZusammenfassungDer Verfasser geht von der heutigen Krisis der Vernunftidee aus, um durch eine Wiederherstellung derselben Idee, die zu einem neuen Rationalismus, als humanistischer Humanismus gedacht, leiten muss, eine mögliche Überwindung dieser Krisis anzuzeigen. Dieser Rationalismus soll, im Gegensatz zur modernen intellektualistischen Anschauung, das spezifisch Menschliche unserer Erkenntnis als etwas Verschiedenes von einem rein intellektuellen Wissen darlegen. In diesem Sinne merkt man das » compositive « und » divise « Verfahren unserer Vernunft und ihren eigenartigen Dynamismus vor, um die erklärenden Möglichkeiten dieser dynamischen Auffassung in Verbindung mit der mathematischen und naturwissenschaftlichen Tatsache vorzustellen. Auch die Metaphysik soll als natürliche Vollendung des rationalen Strebens erkannt werden. Der Kantismus wird in seiner programmatischen und geschichtlichen Lage betrachtet, um seine mächtige rationalistische Prägung, in eine gründliche Blindheit vor der dynamischen Gestait der Wissenschaft leitend, zu bemerken. Endlich werden die episte‐mologischen Mängel des aristotelischen Realismus festgestellt, die ein heutiger Realismus durch eine dynamische und humanistische Erkenntnislehre überwinden kann.The critical attitude actually taken towards the idea of reason supplies the starting point; it is considered possible to overcome the resulting crisis by positing this idea anew, in order to establish a new rationalism which might be termed » humanist «. That rationalism should first of all duly record the fact that our knowledge is strictly human and differs as such from an absolutely intellectual knowledge, in a sense which contrasts with the present rationalist outlook. Following that line, the writer stresses the » compositive « and » divisive « aspects as well as the dynamic character of our rational activity, in the process of presenting the explicative possibilities of this dynamic understanding with reference to mathematics and natural science. The metaphysical fact into which the rational is bound to flow must be accounted for. Kantism is examined in its historical and programmatical position, stressing how deep the rationalist imprint is there, making it a blind alley as far as scientific dynamics are concerned; it is held that they could be overcome by present day realism, thanks to a dynamic and humanist noetic doctrine. (shrink)

La réédition par Denise Karnaouch du livre de Marguerite Bodin, L’Institutrice, mérite d’être signalée, tant la vie de cette pédagogue féministe et syndicaliste peut nous éclairer sur les combats autour du travail et de l’éducation des femmes au début du xxe siècle. Publié en 1921 dans la nouvelle collection « La bibliothèque sociale des métiers » du socialiste Georges Renard, L’Institutrice présente, quarante ans après les lois républicaines instaurant la gratuité, l’obligation et la laïcité...

This article is devoted to the roots of the developments that have taken place in Ukraine since Autumn 2013 and up to the Russian invasion. It stresses the historical differences between Ukraine and Russia, presents the international milieu of Ukrainian independence in the years 1991–2013, and ends with a description of the nature of the Maidan revolution and the pan-European challenge created by the Russian aggression against Ukraine. The main thesis is that the struggle for Ukraine ends the post-Cold War (...) epoch marked with an illusion of eternal peace in Europe and with the groundless hope for Russian imperialism to expire. (shrink)

The core of this article is a comparative analysis of the double movement of the late nineteenth and early twentieth century with the double movement of the late twentieth and early twenty-first century. In both periods the movement toward allegedly self-regulating markets called forth a countermovement of protection. Nevertheless, important differences exist due, first, to differences in the nature of the hegemonic state and, second, to the greater role of subordinate forces in constraining the movement toward self-regulating markets in the (...) late twentieth century. (shrink)

Ce texte a été présenté à l'Alliance française de Buenos Aires le 25 avril 2019 lors de la Conferencia Internacional sobre el Ritmo en el Arte 2019 organisée par Melisa Galarce, Gabriela D'Odorico, Leticia Miramontes, Silvia Pritz, et Aníbal Zorrilla. Au 19e siècle, on trouve depuis les années 1840 des historiens de l'art qui s'intéressent au rythme. Mais le nombre d'études utilisant ce concept a commencé à enfler à partir des années 1890, jusqu'à ce qu'il devienne une - XIXe siècle (...) – Nouvel article. (shrink)

At the turn of the twentieth century the philosophical theory of Positivism informed most intellectual, political, and cultural endeavors, permeating private and public discourse. People lived in t...

Depuis longtemps, les médecins se sont intéressés au phénomène de la menstruation, qui renvoie au mystère de l’» éternel féminin ». À la fin du XIXe siècle, le discours médical sur les règles recoupe encore sur bien des points les préjugés populaires, notamment en ce qui concerne l’impureté du sang menstruel. Les médecins toutefois ne sont pas unanimes : perçue par certains comme un garant de l’équilibre féminin, une « saignée naturelle » indispensable à la bonne santé de la femme, (...) la menstruation est stigmatisée par d’autres comme un état pathologique induisant chez la femme indisposée des troubles aussi bien physiologiques que psychologiques. La question des règles est ainsi révélatrice d’a priori qui sont tout autant masculins que médicaux, et le discours des médecins ne fait qu’apporter une caution qui se veut scientifique à la perception de la femme comme une éternelle malade, étroitement soumise à son destin biologique. (shrink)

Closely based on the dramatist’s personal experience, Christina Reid’s The Belle of the Belfast City offers a commentary on the life of the Protestant working class in the capital of Northern Ireland in the 1980s from a woman’s perspective. It shows the way eroticism is successfully used by the female characters as a source of emancipation as well as a means not only to secure their strong position in the private domain of the household, but also to challenge the (...) patriarchal structures that prevail in the Irish public sphere. The analysis of the play proposed in this essay focuses on the contrast between the presentation of its male and female characters. I will demonstrate that, while the former group desperately cling to the idea of preserving the social status quo, the latter display a more progressive outlook on the social and sexual politics of the country. In particular, I will investigate how the tensions between the representatives of the two sexes reveal themselves in the corporal sphere. I will argue that, as opposed to the erotically-inhibited and physically-inarticulate male characters, the female dramatis personae take advantage of being more connected to their bodies and use their physicality in an erotic fashion to subvert the rules of the patriarchal system and its strict moral code that limits their social roles to those of respectful mothers, obedient sisters or virtuous wives. (shrink)

Cet article analyse les représentations de la « femme masculinée » vers 1900. Il se fonde d’abord sur le constat de la prégnance du topos de la « fin d’un sexe » à la fin du xixe siècle, imaginaire qui contamine la presse féminine elle-même. Par la suite, il montre comment cette « crise » de la femme masculinisée s’est résorbée grâce aux innovations de certaines revues féminines du début du xxe siècle. Femina et La Vie heureuse revendiquent une certaine (...) libération de la femme, qui suppose une forme de « virilité » assumée. Ainsi un nouveau genre journalistique, le reportage, est mis au service de ces représentations de la féminité moderne. (shrink)

This article investigates related contexts and connections that both hide and display the coercion and sexual violence manifest in Western cultural and aesthetic artefacts during ancient Greek and Roman eras and the French imperialist epoch. Exploring ‘Pan and Syrinx’ from Ovid’s ‘Book I’ of the Metamorphoses and Claude Debussy’s Syrinx for solo flute, I historicise the meanings of rape and sexual assault that informed Ovid’s epic and then revisit the genesis of Debussy’s Syrinx because of the uneasy elements surrounding its (...) creation. I show how its cultural production is complicit with the imperial in several ways. I consider how sexual violence impacts voice, subjectivity and the body, and finally, I draw on Luce Irigaray’s work to sketch an embodied Syrinx in relation with others and her environment. I suggest the desiring potential of sexual difference, with limitations, as a generative conception of figuring the feminine-maternal body beyond masculine appropriation. In this way I open the myth up to watery material-social relations. (shrink)

info:eu-repo/semantics/publishedVersion.