This essay analyses Theodore Dreiser’s Sister Carrie through the lens of cultural studies,examining the portrayal of domesticity and the quest for an ideal home in late-nineteenth-century America.It explores the comp...This essay analyses Theodore Dreiser’s Sister Carrie through the lens of cultural studies,examining the portrayal of domesticity and the quest for an ideal home in late-nineteenth-century America.It explores the complex relationships between the main characters,Carrie and Hurstwood,and their families,as well as their struggles with materialism and alienation.Through close analysis of societal context,the characters’familial backgrounds and emotional yearnings,the essay delves into the characters’longing for stability and belonging and their journey toward understanding the true essence of dwelling amidst the changing urban landscape.It argues that Dreiser’s novel critiques the superficial pursuit of material comforts and highlights the importance of introspection and self-discovery in finding lasting happiness amidst societal turmoil.Ultimately,through the prism of domesticity,the essay delves into broader themes of identity,belonging,and existential fulfillment in a heartless society marked by materialism and alienation.展开更多
Following Showalter's division of the three phases in women's literary history, namely the"Feminine, Feminist and Female", this essay launches a biographic study on Sarah Orne Jewett, discussing how ...Following Showalter's division of the three phases in women's literary history, namely the"Feminine, Feminist and Female", this essay launches a biographic study on Sarah Orne Jewett, discussing how she transcends domesticity by embracing female friendship in life and writing a female culture in literature.展开更多
Rem Koolhaas/OMA carried out the study for De Koepel prison throughout a decade(1979-1988).However,only its initial stages(1979-1980)were disclosed and have been investigated.The hypothesis presented in this article s...Rem Koolhaas/OMA carried out the study for De Koepel prison throughout a decade(1979-1988).However,only its initial stages(1979-1980)were disclosed and have been investigated.The hypothesis presented in this article suggests that Koolhaas implemented his dthend recent thesis present in Delirious New York(1978)on“life in the metropolis”and the“Culture of Congestion”in the conception and design of this project.Thus,this article has the aim of examining dby means of the documents compelling the entire period of the studyd how the project suggested transforming the domesticity of De Koepel prison into a“social condenser”of the contemporary metropolis.By doing so,it makes it possible to consider the role of this project within the first decade of Koolhaas’career as an architect(1978-1989),and to establish that Delirious New York is,in fact,the theory on which it was based on when first conceived.This project anticipated the strategy and the methodology he implemented,at a later time,in other projects,offering a different perspective.On this occasion,this diagrammatic investigation took place in Bentham’s Panopticon;reason why,he was then able to develop the reflections on heterotopias and prisons carried out by Foucault.展开更多
This article utilizes the trope of domesticity/domestication in order to explore notions of gendered temporality in Hou Hsiao-hsien＇s Cafe Lumiere （2003）. In dialogue with the Chinese writer Eileen Chang and Wester...This article utilizes the trope of domesticity/domestication in order to explore notions of gendered temporality in Hou Hsiao-hsien＇s Cafe Lumiere （2003）. In dialogue with the Chinese writer Eileen Chang and Western theories about women＇s time and domestic temporality, the article proposes that the works of both Hou and Chang can be described as instances of ecriture feminine that interrogate an ambivalence toward domesticity. Drawing on Chantal Akerman＇s film in contrast to that of Hou, the article further demonstrates how the use of the cinematographic long take domesticates time and space, as well as the ways in which the horror of everyday domesticity have been captured through what Rey Chow calls ＂feminine details.＂ Finally, the present article argues that Cafe Lumiere domesticates a fear of domesticity and pregnancy through a reconfiguration of linear and cyclical time, a reversal of gender roles in its protagonists, and a privileging of aurality over visuality in its cinematic style, such that it presents the potential for a new kind of union and a new kind of futurity premised upon reordered gendered forms of temporality.展开更多
文摘This essay analyses Theodore Dreiser’s Sister Carrie through the lens of cultural studies,examining the portrayal of domesticity and the quest for an ideal home in late-nineteenth-century America.It explores the complex relationships between the main characters,Carrie and Hurstwood,and their families,as well as their struggles with materialism and alienation.Through close analysis of societal context,the characters’familial backgrounds and emotional yearnings,the essay delves into the characters’longing for stability and belonging and their journey toward understanding the true essence of dwelling amidst the changing urban landscape.It argues that Dreiser’s novel critiques the superficial pursuit of material comforts and highlights the importance of introspection and self-discovery in finding lasting happiness amidst societal turmoil.Ultimately,through the prism of domesticity,the essay delves into broader themes of identity,belonging,and existential fulfillment in a heartless society marked by materialism and alienation.
文摘Following Showalter's division of the three phases in women's literary history, namely the"Feminine, Feminist and Female", this essay launches a biographic study on Sarah Orne Jewett, discussing how she transcends domesticity by embracing female friendship in life and writing a female culture in literature.
基金This research was funded by the EU EUROPEAN SOCIAL FUND and COMUNIDAD DE MADRID,grant number PEJD-2017-PRE-HUM-4149UNIVERSIDAD POLITECNICA DE MADRID CONSEJO SOCIAL Fellowshiplater EU ERASMUS+Traineeship Grant.
文摘Rem Koolhaas/OMA carried out the study for De Koepel prison throughout a decade(1979-1988).However,only its initial stages(1979-1980)were disclosed and have been investigated.The hypothesis presented in this article suggests that Koolhaas implemented his dthend recent thesis present in Delirious New York(1978)on“life in the metropolis”and the“Culture of Congestion”in the conception and design of this project.Thus,this article has the aim of examining dby means of the documents compelling the entire period of the studyd how the project suggested transforming the domesticity of De Koepel prison into a“social condenser”of the contemporary metropolis.By doing so,it makes it possible to consider the role of this project within the first decade of Koolhaas’career as an architect(1978-1989),and to establish that Delirious New York is,in fact,the theory on which it was based on when first conceived.This project anticipated the strategy and the methodology he implemented,at a later time,in other projects,offering a different perspective.On this occasion,this diagrammatic investigation took place in Bentham’s Panopticon;reason why,he was then able to develop the reflections on heterotopias and prisons carried out by Foucault.
文摘This article utilizes the trope of domesticity/domestication in order to explore notions of gendered temporality in Hou Hsiao-hsien＇s Cafe Lumiere （2003）. In dialogue with the Chinese writer Eileen Chang and Western theories about women＇s time and domestic temporality, the article proposes that the works of both Hou and Chang can be described as instances of ecriture feminine that interrogate an ambivalence toward domesticity. Drawing on Chantal Akerman＇s film in contrast to that of Hou, the article further demonstrates how the use of the cinematographic long take domesticates time and space, as well as the ways in which the horror of everyday domesticity have been captured through what Rey Chow calls ＂feminine details.＂ Finally, the present article argues that Cafe Lumiere domesticates a fear of domesticity and pregnancy through a reconfiguration of linear and cyclical time, a reversal of gender roles in its protagonists, and a privileging of aurality over visuality in its cinematic style, such that it presents the potential for a new kind of union and a new kind of futurity premised upon reordered gendered forms of temporality.
