Alliance H.M.M. est désormais compatible avec l'extension FastNews.kiwi disponible pour votre navigateur. Avec cette extension, vérifiez s'il y a des nouveaux sujets sur ce forum en un clic depuis n'importe quelle page !Cliquez ici pour en savoir plus.
d680c458d3 With this ending, Mller's text transposes the Euripidean dea ex machin into a bomb explosion. The infant here signifies more than the foreign subject: it signifies the human subject itself. Significantly, the vision of modernity here uses the symbolism of human bodily waste to represent it as a subject of abjection, pollution and contamination. 130-45. Byron and D. London: Reaktion, 1994. Anxiety Veiled: Euripides and the Traffic in Women. Most, G.
In terms of the representation of manufacturing babies in batches, Mller's modernity becomes, like Dr Frankenstein's monster, an expression of an anxiety about what it means to be human in an age of technology. In this regard, Mller's texts are certainly open to the charge of embodying retro-humanist 'political correctness' and liberal platitudes: a 'save the world and recognise humanity' ethic that renders it a gothic, avant-garde inversion of the pop song 'We are the World.' However, such an interpretative closure does not, ultimately, do justice to it: its ethical project remains real and relevant - and, it is this which comprises its dnouement, its tying up of a rather fragmented narrative, and its final resolution to the catalogue of political problems that it so earnestly cites. New York: Columbia University Press, 2003. We will be back soon,we're busy making things better…. While this representation is a caricature of Medea and her signature act indeed, a caricature of maternal rage and an inversion of the maternal ideal a condemnation of Medea's infanticide also, ultimately, requires a condemnation of modernity itself: it soon becomes revealed that modernity's practices of advanced capitalism also render it to be, in effect, a perpetrator of infanticidal and 'inhuman' acts. The bomb, in a god-like act, transforms Medea into the desolate landscape itself; she becomes the landscape of her death as well as the landscape of modernity (for a discussion, see Birringer 107-8 and Turner 214). 'The Designer Baby Myth.' The Guardian, (June 5 2003).