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Intersubjectivity in the pregnant self: maternity from Simone de Beauvoir’s The Second Sex, through Agnès Varda’s L’Opéra Mouffe to contemporary feminist thought

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Intersubjectivity in the pregnant self : maternity from Simone de Beauvoir’s The Second Sex, through Agnès Varda’s L’Opéra Mouffe to contemporary feminist thought. / Horner, Kierran Argent.

In: Studies in European Cinema, 04.11.2018.

Research output: Contribution to journalArticle

Harvard

Horner, KA 2018, 'Intersubjectivity in the pregnant self: maternity from Simone de Beauvoir’s The Second Sex, through Agnès Varda’s L’Opéra Mouffe to contemporary feminist thought', Studies in European Cinema. https://doi.org/10.1080/17411548.2018.1531502

APA

Horner, K. A. (2018). Intersubjectivity in the pregnant self: maternity from Simone de Beauvoir’s The Second Sex, through Agnès Varda’s L’Opéra Mouffe to contemporary feminist thought. Studies in European Cinema. https://doi.org/10.1080/17411548.2018.1531502

Vancouver

Horner KA. Intersubjectivity in the pregnant self: maternity from Simone de Beauvoir’s The Second Sex, through Agnès Varda’s L’Opéra Mouffe to contemporary feminist thought. Studies in European Cinema. 2018 Nov 4. https://doi.org/10.1080/17411548.2018.1531502

Author

Horner, Kierran Argent. / Intersubjectivity in the pregnant self : maternity from Simone de Beauvoir’s The Second Sex, through Agnès Varda’s L’Opéra Mouffe to contemporary feminist thought. In: Studies in European Cinema. 2018.

Bibtex Download

@article{4249b222a45b479c94e90059dda3e5a9,
title = "Intersubjectivity in the pregnant self: maternity from Simone de Beauvoir{\textquoteright}s The Second Sex, through Agn{\`e}s Varda{\textquoteright}s L{\textquoteright}Op{\'e}ra Mouffe to contemporary feminist thought",
abstract = "In her recent study of Agn{\`e}s Varda{\textquoteright}s films and feminist film theory, Hilary Neroni argues that the director{\textquoteright}s L{\textquoteright}Op{\'e}ra-Mouffe/Diary of a Pregnant Woman {\textquoteleft}explores the contradictions in pregnancy{\textquoteright} and the philosophical questions it raises. Some of these questions, specifically those around the pregnant self{\textquoteright}s embodiment of subject and Other, form the crux of this article. It examines these intersubjective issues and death{\textquoteright}s inherent presence to life as each manifests in the pregnant self, engaging with Simone de Beauvoir{\textquoteright}s argument that there is an inevitable passage between birth and death {\textquoteleft}incarnated in the Mother{\textquoteright}. Although this paper reveals similarities between representations of the pregnant body in L{\textquoteright}Op{\'e}ra-Mouffe and Beauvoir{\textquoteright}s early philosophical thought, it will also engage with contemporary feminist theory on pregnancy, arguing that Varda{\textquoteright}s film complicates Beauvoir's stance. In doing so, it enters into dialogue with voices such as that of Sarah LaChance Adams and Caroline R. Lundquist, who recently suggested that where other scholars {\textquoteleft}have embraced life by way of death, they have typically evaded another fundamental truth of our existence, the book-end at the other end of life – birth{\textquoteright}. In its analyses of both death and pregnancy in Varda{\textquoteright}s film, this article goes some way to rectifying this deficit.",
keywords = "Varda, Beauvoir, intersubjectivity, feminism, Pregnancy, identity",
author = "Horner, {Kierran Argent}",
year = "2018",
month = nov,
day = "4",
doi = "10.1080/17411548.2018.1531502",
language = "English",
journal = "Studies in European Cinema",
issn = "1741-1548",
publisher = "Taylor and Francis Ltd.",

}

RIS (suitable for import to EndNote) Download

TY - JOUR

T1 - Intersubjectivity in the pregnant self

T2 - maternity from Simone de Beauvoir’s The Second Sex, through Agnès Varda’s L’Opéra Mouffe to contemporary feminist thought

AU - Horner, Kierran Argent

PY - 2018/11/4

Y1 - 2018/11/4

N2 - In her recent study of Agnès Varda’s films and feminist film theory, Hilary Neroni argues that the director’s L’Opéra-Mouffe/Diary of a Pregnant Woman ‘explores the contradictions in pregnancy’ and the philosophical questions it raises. Some of these questions, specifically those around the pregnant self’s embodiment of subject and Other, form the crux of this article. It examines these intersubjective issues and death’s inherent presence to life as each manifests in the pregnant self, engaging with Simone de Beauvoir’s argument that there is an inevitable passage between birth and death ‘incarnated in the Mother’. Although this paper reveals similarities between representations of the pregnant body in L’Opéra-Mouffe and Beauvoir’s early philosophical thought, it will also engage with contemporary feminist theory on pregnancy, arguing that Varda’s film complicates Beauvoir's stance. In doing so, it enters into dialogue with voices such as that of Sarah LaChance Adams and Caroline R. Lundquist, who recently suggested that where other scholars ‘have embraced life by way of death, they have typically evaded another fundamental truth of our existence, the book-end at the other end of life – birth’. In its analyses of both death and pregnancy in Varda’s film, this article goes some way to rectifying this deficit.

AB - In her recent study of Agnès Varda’s films and feminist film theory, Hilary Neroni argues that the director’s L’Opéra-Mouffe/Diary of a Pregnant Woman ‘explores the contradictions in pregnancy’ and the philosophical questions it raises. Some of these questions, specifically those around the pregnant self’s embodiment of subject and Other, form the crux of this article. It examines these intersubjective issues and death’s inherent presence to life as each manifests in the pregnant self, engaging with Simone de Beauvoir’s argument that there is an inevitable passage between birth and death ‘incarnated in the Mother’. Although this paper reveals similarities between representations of the pregnant body in L’Opéra-Mouffe and Beauvoir’s early philosophical thought, it will also engage with contemporary feminist theory on pregnancy, arguing that Varda’s film complicates Beauvoir's stance. In doing so, it enters into dialogue with voices such as that of Sarah LaChance Adams and Caroline R. Lundquist, who recently suggested that where other scholars ‘have embraced life by way of death, they have typically evaded another fundamental truth of our existence, the book-end at the other end of life – birth’. In its analyses of both death and pregnancy in Varda’s film, this article goes some way to rectifying this deficit.

KW - Varda

KW - Beauvoir

KW - intersubjectivity

KW - feminism

KW - Pregnancy

KW - identity

U2 - 10.1080/17411548.2018.1531502

DO - 10.1080/17411548.2018.1531502

M3 - Article

JO - Studies in European Cinema

JF - Studies in European Cinema

SN - 1741-1548

ER -

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