![]() Primeiramente, traçamos um diálogo com os estudos de gênero na Arqueologia. Um Olhar para as Relações de Gênero na Produção das Coisas de Barro Neste artigo, discutimos as relações de gênero na produção das coisas de barro. draw some comparative reflections between the information derived from Santa Rita and other studies focused on ceramic production in traditional communities of the semi-arid region, in northeast of Brazil, evidencing that the gender action does not have a fixed set of norms, being marked by processes that affect and are affected by other social spheres. We present in detail the operative chain for the production of ceramic artifacts in the district of Santa Rita, city of Ouricuri, Pernambuco. Next, we explain the use of the category "ceramics of local / regional production". Firstly, we draw a dialogue with gender studies in Archeology. In this article, we discuss the gender relations in the production of pottery – the “clay things”. A Karenina Companion will facilitate both the reading and understanding of the novel by English speakers and the writing of informed and reliable critical appreciations. The final chapter provides a survey of significant secondary literature, with English-language works listed in appendices. Chapter 5 outlines what Tolstoi was reading as he was writing the novel. Chapter 4 adduces the main differences between the latest edition of the text and what has been the standard edition for over 50 years. In Chapter 3 the author brings together Tolstoi’s own substantial comments on his work. Chapter 1 is a biographical introduction and Chapter 2 an examination of the way in which the novel was composed. A Karenina Companion offers a wealth of information, including a great deal that has previously not been available in English, for the scholarly and literary appreciation of this great novel. On the level of poetics Tolstoy is a personalist feminist, insofar as he treats his characters of both sexes as full-fledged human subjects, free and unfinalizable, and is prepared to enter into a dialogue with his female characters as subjects, rather than trying to finalize them from outside, i.e., in the words of Simone de Beauvoir describing the usual procedure of the male subject, to "stabilize as object."5.Īlthough Anna Karenina has been described as “the European novel” by Frank Leavis, the geographical setting of the novel and, increasingly, its temporal and cultural setting, render it a foreign novel to most readers. ![]() I would like to give more ammunition to Tolstoy's "defenders" and argue that both on the level of ideas and on the level of poetics Anna Karenina exhibits certain features that can be perceived as feminist.4 They are: the idea of sexuality as a moral challenge equally for both genders and the related ideal of marriage and family based on sincere love and respect-what I will call "true marriage"-as the only moral and productive way for both to address this challenge. Most recently Helena Goscilo has reaffirmed Tolstoy's reputation as an all-out misogynist, basing these charges on Tolstoy's "visceral fear and disgust of female sexuality," on his advocacy of "separate, but adjoining gendered domains" in a marriage, and on the novel's "mandate that women be virginal and ignorant." Edwina Cruise and Elizabeth Blake seem to have anticipated and answered some of these charges, suggesting that Tolstoy treats the two sexes more even-handedly than Goscilo's account would have us believe. Tolstoy's misogyny in general, and in Anna Karenina in particular, was a commonplace of feminist criticism until Barbara Heidt, and then Amy Mandelker, challenged that idea.
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