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| Josefa de Ayala Figueira, Agnus Dei, 1684. |
domingo, 21 de abril de 2019
domingo, 14 de abril de 2019
domingo, 7 de abril de 2019
domingo, 31 de março de 2019
domingo, 24 de março de 2019
domingo, 17 de março de 2019
domingo, 10 de março de 2019
domingo, 3 de março de 2019
domingo, 24 de fevereiro de 2019
TAUTOLOGIA
Ao domingo à tarde, a rádio passava o Nelson Ned cantando Domingo à Tarde.
Isabela Figueiredo, Caderno de Memórias Coloniais.
sexta-feira, 22 de fevereiro de 2019
O poder da raiva
That her lifelong, most fundamental positions were consistently construed as their opposites was no doubt demoralizing. But Dworkin did not cater to hostile readers, pleading with them to understand. Instead, she played the long game, refusing to leave behind a legacy of compromise. As she would later reflect:
My only chance to be believed is to find a way of writing bolder and stronger than woman hating itself—smarter, deeper, colder. This might mean that I would have to write a prose more terrifying than rape, more abject than torture, more insistent and destabilizing than battery, more desolate than prostitution, more invasive than incest, more filled with threat and aggression than pornography. How would the innocent bystander be able to distinguish it, tell it apart from the tales of rapists themselves if it were so nightmarish and impolite? There are no innocent bystanders.
“Nightmarish and impolite” might be the only descriptions of her work that Dworkin and her critics could agree on. And yet, as grim as her outlook was, just as it was her curse to see the seed of genocide in everything—the calamity waiting in every expression and symbol of inequality, however small or private—it was her gift to see in everything an opportunity to resist.
Sobre a vida e a recepção da obra de Andrea Dworkin, aqui.
