Cuerpos de la tristeza: agencia y cuidado en la historia de Laura Brown
In the present work we propose to investigate sadness as a political affection through a cinematographic narration. The Hours, a dramatic film from the USA of the year 2002 directed by Stephen Daldry, will allow us to explore the political articulation between sadness as affect flow and the feminize...
Guardado en:
| Autores principales: | , |
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Centro de Investigaciones de la Facultad de Filosofía y Humanidades
2020
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/etcetera/article/view/29614 |
| Aporte de: |
| Sumario: | In the present work we propose to investigate sadness as a political affection through a cinematographic narration. The Hours, a dramatic film from the USA of the year 2002 directed by Stephen Daldry, will allow us to explore the political articulation between sadness as affect flow and the feminized bodies. In the same gesture, make a brief historiography of feminism. We are especially interested in dwelling on the story of the character of Laura Brown, to investigate the staging of sadness as an enabler of flight (and life) and care policies tied to the agency, election and heterosexuality as a political system.
Then, we will analyze the affects surrounding the flee from domesticity -which constitutes this character as "monster"-, and we will try to articulate the film's affective atmosphere with a the feminist imaginaries about the care among-women as well as the sadness like shared affection -therefore political- and its effects on our feminist living. In this regard, we ask ourselves what sadness makes possible: What does sadness do (to us)? |
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