Academic literature on the topic 'Lois McNay'

Author(s): Jordančo Sekulovski | Јорданчо Секуловски Title (Macedonian): Кон Lois McNay, Foucault and Feminism: Power, Gender and the Self Title (Albanian): Për Lois McNay, Foucault and Feminism: Power, Gender and the Self Translated by (Macedonian to Albanian): Lindita Ahmeti Journal Reference: Identities: Journal for Politics, Gender and Culture, Vol. 5, No 1 (Winter 2006) Publisher: Research Center in Gender Studies - Skopje and Euro-Balkan Institute Page Range: 293-295 Page Count: 3 Citation (Macedonian): Јорданчо Секуловски, „Кон Lois McNay, Foucault and Feminism: Power, Gender and the Self“, Идентитети: списание за политика, род и култура, т. 5, бр. 1 (зима 2006): 293-295. Citation (Albanian): Jordančo Sekulovski, „Për Lois McNay, Foucault and Feminism: Power, Gender and the Self“, përkthim nga Maqedonishtja Lindita Ahmeti, Identities: Journal for Politics, Gender and Culture, Vol. 5, No 1 (Winter 2006): 293-295.

Patriarchal culture is part of Malay society. However widows in Serdang Village, South Bangka gain agency in the midst of patriarchal culture. They find strategies in meeting their sexual needs after getting their agency. This study looks at how women find their agency and strategies to fulfill their sexual needs in the midst of the Serdang Village community which is still heavily associated with its Malay culture. The ethnographic research method was carried out to explore the agency of young widows in the village using Agency Theory from Lois McNay and Gayle Rubin’s thought “The Charmed Cyrcle” as an analytical knife to dissect the problems that exist in Serdang Village. This study found that young widows use strategies to fulfill their sexual needs, either by connecting with a boyfriend without getting married, watching adult videos, connecting with customers on a consensual or paid basis. This study concludes that the agency that has been built by the widows allows them to express their sexual needs freely.

There is a revival of interest in Bourdieu’s work and this article examines dominant trends within feminist re-engagements. It considers the insights into gender identity afforded by ‘habitus’ and ‘social field’, distinguishing between analyses of ‘gender habitus’, and the potential of habitus and social field for feminist analysis of change. Feminist responses to Bourdieu continue to be divided on the extent to which social field structure determines habitus, and there is a tendency to represent the relationship as too seamless and coherent. Drawing on debates within recent feminist sociology, notably the work of Lois McNay and Lisa Adkins, this article argues instead for greater acknowledgement of the instability of gender norms and the contradictory effects of crossing different social fields. A feminist rethinking of the relationship between gender change, habitus and social field is suggested, which arises from a more contextual analysis of the varying degrees of correspondence between habitus and field. This addresses the co-existence of change and continuity in gender relations and identities, and aims to move such debates beyond questions of either freedom or reproduction.

This article responds to the accusation made by Lois McNay in The Misguided Search for the Political that much radical democratic theory is ‘socially weightless’ as a direct result of its turn towards an ontological understanding of the political. It argues that the social weightlessness identified in the work of the particular theorists McNay singles out for critique is not the result of the ontological approach per se. After briefly summarising McNay’s argument, Oliver Marchart’s ontology of political difference is used to defend the ‘search for the political’ against four aspects of McNay’s argument: the status of the ontological in post-foundational thought, the question of universality in relation to the political, the relationship between the social and the political, and that between indeterminacy and agency. Following this, the methodology of the disclosing critique of social suffering that McNay puts forward as an alternative to the ontological paradigm will be examined. This will be shown not only to be compatible with such a paradigm, but to be rooted in the very same parts of Heidegger’s philosophy. Moreover, her approach is found to enhance the ontological approach to the political by recovering its hermeneutical dimension, and in turn reconnecting hermeneutics to the question of the body. These are steps which, if further built upon, could add not only social, but also fleshly weight to ontological theories of the political, strengthening the critical potential of radical democracy.

The article deals with the revival of Jürgen Habermas and critical theory in the debate of feminist theory and method. At the conceptual level the relationship between discourse and identity and the question of a non-discoursive concept of experience are discussed. Several feminist researchers who have been attracted by poststructuralist thinking now aim at a combination of Habermas and Foucault. (e.g. Lois McNay). Also Seyla Benhabib and her critical questions about postmodernism and emancipation enjoy great prominence. Can feminist theory be postmodernist and still retain an interest in emancipation? The article encourages to consider the possible combination of Foucalt's critique of institutions and of power/knowledge with the utopian thinking of Habermas.

Elizabeth Wilmot, Countess of Rochester, is best known to most modern readers as the woman John Wilmot, Earl of Rochester, abducted and later wed. As Samuel Pepys memorably records in his diary entry for 28 May 1665:Thence to my Lady Sandwich’s, where, to my shame, I had not been a great while before. Here, upon my telling her a story of my Lord Rochester’s running away on Friday night last with Mrs Mallet, the great beauty and fortune of the North, who had supped at Whitehall with Mrs Stewart, and was going home to her lodgings with her grandfather, my Lord Haly, by coach; and was at Charing Cross seized on by both horse and footmen, and forcibly taken from him, and put into a coach with six horses, and two women provided to receive her, and carried away. Upon immediate pursuit, my Lord of Rochester (for whom the King had spoke to the lady often, but with no success) was taken at Uxbridge; but the lady is not yet heard of, and the King mighty angry and the Lord sent to the Tower. (http://www.pepysdiary.com/)Here Pepys provides an anecdote that offers what Helen Deutsch has described in another context as “the elusive possibility of truth embodied by ‘things in themselves,’ by the things, that is, preserved in anecdotal form” (28). Pepys’s diary entry yields up an “elusive possibility” of embodied truth; his version of Wilmot’s abduction solidifies what he perceives to be the most notable features of her identity: her beauty, her wealth, and her sexual trajectory.Pepys’s conclusion that “the lady is not yet heard of” complicates this idea of anecdotal preservation, for he neatly ties up his story of Wilmot’s body by erasing her from it: she is removed, voiceless and disembodied, from even this anecdote of her own abduction. Pepys’s double maneuver demonstrates the complex set of interactions surrounding the preservation of early modern women’s sexual and textual selves. Written into Pepys’s diary and writing in conversation with her husband, Wilmot has generally been treated as a subordinate historical and literary figure—a character rather than an agent or an author. The richness of Wilmot’s own writing has been largely ignored; her manuscript poetry has been treated as an artefact and a source of autobiographical material, whereas Rochester’s poetry—itself teeming with autobiographical details, references to material culture, and ephemera—is recognised and esteemed as literary. Rochester’s work provides a tremendous resource, a window through which we can read and re-read his wife’s work in ways that enlighten and open up readings rather than closing them down, and her works similarly complicate his writings.By looking at Wilmot as a case study, I would like to draw attention to some of the continued dilemmas that scholars face when we attempt to recover early modern women’s writing. With this study, I will focus on distinct features of Wilmot’s sexual and textual identity. I will consider assumptions about female docility; the politics and poetics of erotic espionage; and Wilmot’s construction of fugitive desires in her poetry. Like the writings of many early modern women, Wilmot’s manuscript poetry challenges assumptions about the intersections of gender, sexuality, and authorship. Early Modern Women’s Docile Bodies?As the entry from Pepys’s diary suggests, Wilmot has been constructed as a docile female body—she is rendered “ideal” according to a set of gendered practices by which “inferior status has been inscribed” on her body (Bartky 139). Contrasting Pepys’s references to Wilmot’s beauty and marriageability with Wilmot’s own vivid descriptions of sexual desire highlights Wilmot’s tactical awareness and deployment of her inscribed form. In one of her manuscript poems, she writes:Nothing ades to Loves fond fireMore than scorn and cold disdainI to cherish your desirekindness used but twas in vainyou insulted on your SlaveTo be mine you soon refusedHope hope not then the power to haveWhich ingloriously you used. (230)This poem yields up a wealth of autobiographical information and provides glimpses into Wilmot’s psychology. Rochester spent much of his married life having affairs with women and men, and Wilmot represents herself as embodying her devotion to her husband even as he rejects her. In a recent blog entry about Wilmot’s poetry, Ellen Moody suggests that Wilmot “must maintain her invulnerable guard or will be hurt; the mores damn her whatever she does.” Interpretations of Wilmot’s verse typically overlay such sentiments on her words: she is damned by social mores, forced to configure her body and desire according to rigorous social codes that expect women to be pure and inviolable yet also accessible to their lovers and “invulnerable” to the pain produced by infidelity. Such interpretations, however, deny Wilmot the textual and sexual agency accorded to Rochester, begging the question of whether or not we have moved beyond reading women’s writing as essential, natural, and embodied. Thus while these lines might in fact yield up insights into Wilmot’s psychosocial and sexual identities, we continue to marginalise her writing and by extension her author-self if we insist on taking her words at face value. Compare, for example, Wilmot’s verse to the following song by her contemporary Aphra Behn:Love in Fantastique Triumph satt,Whilst Bleeding Hearts a round him flow’d,For whom Fresh paines he did Create,And strange Tyranick power he show’d;From thy Bright Eyes he took his fire,Which round about, in sports he hurl’d;But ’twas from mine, he took desire,Enough to undo the Amorous World. (53) This poem, which first appeared in Behn’s tragedy Abdelazer (1677) and was later printed in Poems upon Several Occasions (1684), was one of Behn’s most popular lyric verses. In the 1920s and 1930s Ernest Bernbaum, Montague Summers, Edmund Gosse, and others mined Behn’s works for autobiographical details and suggested that such historical details were all that her works offered—a trend that continued, disturbingly, into the later half of the twentieth century. Since the 1980s, Paula R. Backscheider, Ros Ballaster, Catherine Gallagher, Robert Markley, Paul Salzman, Jane Spencer, and Janet Todd have shown that Behn’s works are not simple autobiographical documents; they are the carefully crafted productions of a literary professional. Even though Behn’s song evokes a masochistic relationship between lover and beloved much like Wilmot’s song, critics treat “Love Arm’d” as a literary work rather than a literal transcription of female desire. Of course there are material differences between Wilmot’s song and Behn’s “Love Arm’d,” the most notable of which involves Behn’s self-conscious professionalism and her poem’s entrenchment in the structures of performance and print culture. But as scholars including Kathryn King and Margaret J. M. Ezell have begun to suggest, print publication was not the only way for writers to produce and circulate literary texts. King has demonstrated the ways in which female authors of manuscripts were producing social texts (563), and Ezell has shown that “collapsing ‘public’ into ‘publication’” leads modern readers to “overlook the importance of the social function of literature for women as well as men” (39). Wilmot’s poems did not go through the same material, ideological, and commercial processes as Behn’s poems did, but they participated in a social and cultural network of exchange that operated according to its own rules and that, significantly, was the same network that Rochester himself used for the circulation of his verses. Wilmot’s writings constitute about half of the manuscript Portland PwV 31, held by Hallward Library, University of Nottingham—a manuscript catalogued in the Perdita Project but lacking a description and biographical note. Teresa D. Kemp has discussed the impact of the Perdita Project on the study of early modern women’s writing in Feminist Teacher, and Jill Seal Millman and Elizabeth Clarke (both of whom are involved with the project) have also written articles about the usability of the database. Like many of the women writers catalogued by the Perdita Project, Wilmot lacks her own entry in the Dictionary of National Biography and is instead relegated to the periphery in Rochester’s entry.The nineteen-page folio includes poems by both Rochester and Wilmot. The first eight poems are autograph manuscript poems by Rochester, and a scene from a manuscript play ‘Scaene 1st, Mr. Daynty’s chamber’ is also included. The remaining poems, excluding one without attribution, are by Wilmot and are identified on the finding aid as follows:Autograph MS poem, entitled ‘Song’, by Elizabeth WilmotAutograph MS poem, entitled ‘Song’, by Elizabeth WilmotAutograph MS poem, entitled ‘Song’, by Elizabeth WilmotMS poem, untitled, not ascribed Autograph MS poem, entitled ‘Song’, by Elizabeth WilmotAutograph MS poem, untitled, by Elizabeth WilmotAutograph MS poem, untitled, by Elizabeth WilmotAutograph MS poem, untitled, by Elizabeth Wilmot Autograph MS poem, untitled, by Elizabeth WilmotTwo of the songs (including the lyric quoted above) have been published in Kissing the Rod with the disclaimer that marks of revision reveal that “Lady Rochester was not serving as an amanuensis for her husband” yet the editors maintain that “some sort of literary collaboration cannot be ruled out” (230), implying that Rochester helped his wife write her poetry. Establishing a non-hierarchical strategy for reading women’s collaborative manuscript writing here seems necessary. Unlike Behn, who produced works in manuscript and in print and whose maximization of the slippages between these modes has recently been analyzed by Anne Russell, Wilmot and Rochester both wrote primarily in manuscript. Yet only Rochester’s writings have been accorded literary status by historians of the book and of manuscript theory such as Harold Love and Arthur Marotti. Even though John Wilders notes that Rochester’s earliest poems were dialogues written with his wife, the literariness of her contributions is often undercut. Wilders offers a helpful suggestion that the dialogues set up by these poems helps “hint … at further complexities in the other” (51), but the complexities are identified as sexual rather than textual. Further, the poems are treated as responses to Rochester rather than conversations with him. Readers like Moody, moreover, draw reflections of marital psychology from Wilmot’s poems instead of considering their polysemic qualities and other literary traits. Instead of approaching the lines quoted above from Wilmot’s song as indications of her erotic and conjugal desire for her husband, we can consider her confident deployment of metaphysical conceits, her careful rhymes, and her visceral imagery. Furthermore, we can locate ways in which Wilmot and Rochester use the device of the answer poem to build a complex dialogue rather than a hierarchical relationship in which one voice dominates the other. The poems comprising Portland PwV 31 are written in two hands and two voices; they complement one another, but neither contains or controls the other. Despite the fact that David Farley-Hills dismissively calls this an “‘answer’ to this poem written in Lady Rochester’s handwriting” (29), the verses coexist in playful exchange textually as well as sexually. Erotic Exchange, Erotic EspionageBut does a reorientation of literary criticism away from Wilmot’s body and towards her body of verse necessarily entail a loss of her sexual and artefactual identity? Along with the account from Pepys’s diary mentioned at the outset of this study, letters from Rochester to his wife survive that provide a prosaic account of the couple’s married life. For instance, Rochester writes to her: “I love not myself as much as you do” (quoted in Green 159). Letters from Rochester to his wife typically showcase his playfulness, wit, and ribaldry (in one letter, he berates the artist responsible for two miniatures of Wilmot in strokes that are humorous yet also charged with a satire that borders on invective). The couple’s relationship was beleaguered by the doubts, infidelities, and sexual double standards that an autobiographical reading of Wilmot’s songs yields up, therefore it seems as counterproductive for feminist literary theory, criticism, and recovery work to entirely dispense with the autobiographical readings as it seems reductive to entirely rely on them. When approaching works like these manuscript poems, then, I propose using a model of erotic exchange and erotic espionage in tandem with more text-bound modes of literary criticism. To make this maneuver, we might begin by considering Gayle Rubin’s proposition that “If women are the gifts, then it is men who are the exchange partners. And it is the partners, not the presents, upon whom reciprocal exchange confers its quasi-mystical power of social linkage” (398). Wilmot’s poetry relentlessly unsettles the binary set up between partner and present, thereby demanding a more pluralistic identification of sexual and textual economies. Wilmot constructs Rochester as absent (“Thats caused by absence norished by despaire”), which is an explicit inversion of the gendered terms stereotypically deployed in poetry (the absent woman in works by Rochester as well as later satirists like Jonathan Swift and Alexander Pope often catalyzes sexual desire) that also registers Wilmot’s autobiographical contexts. She was, during most of her married life, living with his mother, her own mother, and Rochester’s nieces in his house at Adderbury while he stayed in London. The desire in Wilmot’s poetry is textualised as much as it is sexualised; weaving this doublebraid of desires and designs together ultimately provides the most complete interpretation of the verses. I read the verses as offering a literary form of erotic espionage in which Wilmot serves simultaneously as erotic object and author. That is, she both is and is not the Cloris of her (and Rochester’s) poetry, capable of looking on and authorizing her desired and desiring body. The lyric in which Wilmot writes “He would return the fugitive with Shame” provides the clearest example of the interpretive tactic that I am proposing. The line, from Wilmot’s song “Cloris misfortunes that can be exprest,” refers to the deity of Love in its complete context:Such conquering charmes contribute to my chainAnd ade fresh torments to my lingering painThat could blind Love juge of my faithful flameHe would return the fugitive with ShameFor having bin insenceable to loveThat does by constancy it merritt prove. (232)The speaker of the poem invokes Cupid and calls on “blind Love” to judge “my faithful flame.” The beloved would then be returned “fugitive with Shame” because “blind Love” would have weighed the lover’s passion and the beloved’s insensibility. Interestingly, the gender of the beloved and the lover are not marked in this poem. Only Cupid is marked as male. Although the lover is hypothetically associated with femaleness in the final stanza (“She that calls not reason to her aid / Deserves the punishmentt”), the ascription could as easily be gendering the trait of irrationality as gendering the subject/author of the poem. Desire, complaint, and power circulate in the song in a manner that lacks clear reference; the reader receives glimpses into an erotic world that is far more ornately literary than it is material. That is, reading the poem makes one aware of tropes of power and desire, whereas actual bodies recede into the margins of the text—identifiable because of the author’s handwriting, not a uniquely female perspective on sexuality or (contrary to Moody’s interpretation) a specifically feminine acquiescence to gender norms. Strategies for Reading a Body of VerseWilmot’s poetry participates in what might be described as two distinct poetic and political modes. On one hand, her writing reproduces textual expectations about Restoration answer poems, songs and lyrics, and romantic verses. She crafts poetry that corresponds to the same textual conventions that men like Rochester, John Dryden, Abraham Cowley, and William Cavendish utilised when they wrote in manuscript. For Wilmot, as for her male contemporaries, such manuscript writing would have been socially circulated; at the same time, the manuscript documents had a fluidity that was less common in print texts. Dryden and Behn’s published writings, for instance, often had a more literary context (“Love Arm’d” refers to Abdelazer, not to Behn’s sexual identity), whereas manuscript writing often referred to coteries of readers and writers, friends and lovers.As part of the volatile world of manuscript writing, Wilmot’s poetry also highlights her embodied erotic relationships. But over-reading—or only reading—the poetry as depicting a conjugal erotics limits our ability to recover Wilmot as an author and an agent. Feminist recovery work has opened many new tactics for incorporating women’s writing into existing literary canons; it has also helped us imagine ways of including female domestic work, sexuality, and other embodied forms into our understanding of early modern culture. By drawing together literary recovery work with a more material interest in recuperating women’s sexual bodies, we should begin to recuperate women like Wilmot not simply as authors or bodies but as both. The oscillations between the sexual and textual body in Wilmot’s poetry, and in our assessments of her life and writings, should help us approach her works (like the works of Rochester) as possessing a three-dimensionality that they have long been denied. ReferencesBartky, Sandra Lee. “Foucault, Femininity, and the Modernization of Patriarchal Power.” In Writing on the Body: Female Embodiment and Feminist Theory. Ed. Katie Conboy, Nadia Medina, and Sarah Stanbury. New York: Columbia University Press, 1997. 129-54.Behn, Aphra. “Song. Love Arm’d.” The Works of Aphra Behn. Volume 1: Poetry. Ed. Janet Todd. London: William Pickering, 1992. 53.Clarke, Elizabeth. “Introducing Hester Pulter and the Perdita Project.” Literature Compass 2.1 (2005). ‹http://www.blackwell-compass.com/subject/literature/article_view?article_id=lico_articles_bsl159›. Deutsch, Helen. Loving Doctor Johnson. Chicago: University of Chicago Press, 2005.Diamond, Irene, Ed. Feminism and Foucault: Reflections on Resistance. Boston: Northeastern University Press, 1988.Ezell, Margaret J. M. Social Authorship and the Advent of Print. Baltimore: Johns Hopkins University Press, 1999.Farley-Hill, David. Rochester’s Poetry. Totowa: Rowman and Littlefield, 1978. Greene, Graham. Lord Rochester’s Monkey. New York: Penguin, 1974. Greer, Germaine, Susan Hastings, Jeslyn Medoff, and Melinda Sansone, Ed. Kissing the Rod: An Anthology of Seventeenth-Century Women’s Verse. New York: Noonday Press, 1988. Kemp, Theresa D. “Early Women Writers.” Feminist Teacher 18.3 (2008): 234-39.King, Kathryn. “Jane Barker, Poetical Recreations, and the Sociable Text.” ELH 61 (1994): 551-70.Love, Harold, and Arthur F. Marotti. "Manuscript Transmission and Circulation." The Cambridge History of Early Modern English Literature. Cambridge, England: Cambridge University Press, 2002. 55-80. Love, Harold. "Systemizing Sigla." English Manuscript Studies 1100-1700. 11 (2002): 217-230. Marotti, Arthur F. "Shakespeare's Sonnets and the Manuscript Circulation of Texts in Early Modern England." A Companion to Shakespeare's Sonnets. Oxford: Blackwell, 2007. 185-203.McNay, Lois. Foucault And Feminism: Power, Gender, and the Self. Boston: Northeastern, 1992.Moody, Ellen. “Elizabeth Wilmot (neé Mallet), Countess of Rochester, Another Woman Poet.” Blog entry 16 March 2006. 11 Nov. 2008 ‹http://server4.moody.cx/index.php?id=400›. Pepys, Samuel. The Diary of Samuel Pepys. 23 Aug. 2008 ‹http://www.pepysdiary.com/archive/1665/05/28/index.php›. Rubin, Gayle. “The Traffic in Women: Notes on the ‘Political Economy’ of Sex.” Feminist Literary Theory and Criticism: A Norton Reader, ed. Sandra M. Gilbert and Susan Gubar, 392-413. New York: Norton, 2007.Russell, Anne. “Aphra Behn, Textual Communities, and Pastoral Sobriquets.” English Language Notes 40.4 (June 2003): 41-50.———. “'Public' and 'Private' in Aphra Behn's Miscellanies: Women Writers, Print, and Manuscript.” Write or Be Written: Early Modern Women Poets and Cultural Constraints. Ed. Barbara Smith and Ursula Appelt. Aldershot: Ashgate, 2001. 29-48. Sawicki, Jana. Disciplining Foucault: Feminism, Power and the Body. New York: Routledge, 1991.Seal, Jill. "The Perdita Project—A Winter's Report." Early Modern Literary Studies 6.3 (January, 2001): 10.1-14. ‹http://purl.oclc.org/emls/06-3/perdita.htm›.Wilders, John. “Rochester and the Metaphysicals.” In Spirit of Wit: Reconsiderations of Rochester. Ed. Jeremy Treglown. Hamden: Archon, 1982. 42-57.Wilmot, Elizabeth, Countess of Rochester. “Song” (“Nothing Ades to Love's Fond Fire”) and “Song” (“Cloris Misfortunes That Can Be Exprest”) in Kissing the Rod. 230-32.

The thesis argues that an important step in an agenda calling for change is a re-signification of the mother–infant connection from a role to a relationship so as to embed the subject position of the woman-as-mother and enhance her reflexive stance. It identifies intersections between structure and agency as played out in the lives of a small group of women in the early years after the birth of their first child. It contributes to a call for transformational change so as to accommodate dependency while attending to gender equal outcomes. The study is multidisciplinary, bringing together gender, sociology, psychoanalysis and health through a conceptual framework informed by the work of Pierre Bourdieu, Cornelius Castoriadis, Jessica Benjamin and Lois McNay. It locates the work of care through the dependency theory of Eva Feder Kittay and Martha Fineman and the proposition that both the state and the market rely on the family for care. Data are drawn from in-depth and semi-structured interviews with sixteen first-time mothers from Sydney and Canberra. The participants self identified from posters circulated through playgroups and childcare centres from northern, southern, eastern and western suburbs to ensure a diverse sample. What has generally been thought of as a paradox between the rights of women and an assertion of gender difference associated with the maternal body can be recast in terms of tensions. The family as a social unit in the early twenty-first century is marked by tension and change evidenced through the experience of women when they first become mothers. Research that focuses on the early years after the birth of an infant under the banner of the Transition to Parenthood brings to light gendered economic outcomes, maternal stress, depression and a decline in marital satisfaction; in essence a mismatch between expectations and experience that is played out through the sense of self. This is a consequence of a divergence between cultural trends and social structuring with a lack of recognition of both intersubjective dynamics between women-as-mothers and their infants and intrapsychic processes of the self. I cast this dissonance in terms of tensions between macrosocial and microsocial factors. A disjuncture is evident through the ambivalences of these new mothers. In the interview data there is a sense of displaced self, difficulties reconnecting with former lives through the workplace, and often disruptions within families arising from unfulfilled expectations. There is nevertheless a strong and abiding connection with their infants. Motherhood is often characterized as selfless. The needs and interests of the infant/child became paramount and this is seen as a good thing, a moral imperative. Identifications with one’s mother and/or the projected interests of the child or family promote continuity while everyday expectations and practices within families point to change. Women have historically promoted both social and cultural capital through asserting the interests of their families and child/ren. However, attending to these related tasks generally comes at an economic cost and at a cost to their health. There is a significant body of both academic and popular texts reflecting on the experience of being a mother at the microsocial level which is accompanied by a common experience of ambivalence in locating the maternal self. There is evidence of movement for change at the macrosocial level through a rethinking of welfare economics, feminist proponents calling for a public ethic of care, trends towards a gender equal or egalitarian family form, a feminist mothers’ movement, and the emergence of a concept of social care.

Hennacy followed his wife to Denver and then to New Mexico, working at dairies to support them. Selma drew their daughters into the I AM movement, shunning him. Hennacy was arrested in Denver for passing out the Catholic Worker, but in Albuquerque he worked for Simms’s and Shirk’s dairies and wrote for the paper his “Life at Hard Labor” articles. He became an acequiero (irrigation expert) and interested himself in his Latinx neighbors and the Isleta pueblo. He visited the Doukhobors, a Russian anarchist sect, in Canada, and his daughters Carmen and Sharon in Los Angeles just before the atomic bomb was dropped. He cared for the Black poet Claude McKay and developed an idea of Native American anarchism based on the Hopis.

Desde la última década del s. XX, la tecnología digital toma la ventaja en casi todas las fases de la producción de cine de animación, haciendo posible entre otras cosas, la unión de cine de acción real con animación, dando lugar a series animadas de estética híbrida.El presente artículo centrará su atención en uno de estos ejemplos híbridos, El asombroso mundo de Gumball (2011), serie de animación televisiva creada por Ben Bocquelet (1983), tras proponer a Cartoon Network reunir en una única producción a todos los personajes que él había creado y que fueron rechazados por estudios de animación a lo largo de los años.Partiendo de esta unión de elementos diferentes (explicación presente en la idea base, pero no en el argumento de la serie), se analizarán los recursos que se utilizan para unir a personajes de estética dispar en un "universo gráfico" coherente. Este concepto de "universo" aparece definido por Raúl García en Actores del Lápiz (2000), como la unidad de estilo (y movimiento) en la que coexisten los personajes y elementos de diseño dentro de una serie de televisión, regidos por unas reglas que hay que mantener durante toda la creación, para hacerla verosímil ante el espectador. Teniendo en cuenta este concepto, se completará el análisis de dichos recursos estudiando producciones en las cuales la mezcla de estilos va de acorde con el argumento, o se realiza con fines de experimentación estética: desde los Lightning Sketches de Blackton (1907) o Gertie, the Good Dinosaur de McCay (1914); pasando por los personajes animados que conviven con humanos en Mary Poppins (1964), ¿Quién engañó a Roger Rabbit? (1988), o Space Jam (1996); hasta los fondos de imagen real inmersos en la animación experimental del director Masaaki Yuasa en The Tatami Galaxy (2010).http://dx.doi.org/10.4995/ANIAV.2017.4900

Las relaciones entre cómic y fotografía puede rastrearse hasta elsiglo XIX, con casos como el del pionero del cómic estadounidense A.B. Frost. En 1878, Frost entró en la Academia de Bellas Artes dePennsylvania para estudiar con el pintor Thomas Eakins, cuando esteúltimo estaba interesado en incorporar a las artes plásticas losavances de las series fotográficas de Eadweard Muybridge. Los primeros cómics de Frost fueron un desarrollo humorístico en dibujos de la imagen en movimiento que había aprendido en las series fotográficas de Muybridge como parte del entorno de Eakins (Smolderen 2014: 120).Existen ejemplos recientes de uso directo de la fotografía en el cómiccomo Le photographe (Lefèvre, Guibert y Lemercier, 2003-2006), novela gráfica construida a partir de las fotografías y recuerdos delreportero gráfico Didier Lefèvre sobre una expedición de Médicos SinFronteras en el Afganistán de 1986. Su testimonio sobre los desastresde la guerra afgano-soviética se representa en las viñetas dibujadaspor Guibert. Pero entre ellas se interpolan las fotografías de Lefèvre(que remiten a la fotonovela, sin serlo realmente), la huella indicialy “objetiva” de que aquello sucedió realmente. El contraste implica unchoque entre la invención que implica todo dibujo y el index de larealidad, el “Esto ha sido” (Barthes 2006: 91) como noema de lafotografía.Esta propuesta analizará (mediante herramientas de Historia del arte,Estética y Bellas artes) diversos cómics de producción del autor dondeempleó fotocollages y dibujo. Los principales referentes inspiradoresfueron Le photographe y dos novelas gráficas de Eddie Campbell, TheFate of the Artist (2006) y The Lovely Horrible Stuff (2012).Referencias bibliográficas:Barthes, Roland (2006), La cámara lúcida, Barcelona: Paidós.Smolderen, Thierry (2014): The Origins of Comics: From William Hogarth to Winsor McCay, Jackson: University Press of Mississippi.