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AbstractAlthough ideological speculations over the biological differences between the sexes continue to haunt the field of music composition, as early as 1970, women writers and visual artists were heavily engaged in discussions of myths about femininity and a heavily stigmatized female body. They did this to promote the emergence of “women's art.” To some extent, women composers also embraced this, by affirming that their relationship to composition was much different from their male counterparts. These essentialist feminists posited that a specifically female sensibility and place in the world pushed them to work differently—to be rooted in “existential” themes inspired by their social and cultural condition. These circumstances opened up the question of identity, through the invention of a particular artistic style that, paradoxically, reclaimed what radical feminists viewed as women's pitfalls. This article reveals that essentialist features of women's music—at least as women composers defined them—resulted from a desire to delineate the universally feminine in art, and were not the product of biological dicta.
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168.More information
Tabu (2012) rethinks the memory of historical events by means of an exercise in the ways of seeing and hearing. This film, by working on time and anachronism, develops a way of thinking about the contemporary nature of images and sounds as archives of individual and collective memory. These ideas are developed through various visual and aural strategies. In particular, in the film's second part the private and secret memory of individual remembrance is mixed with the collective memory of twentieth-century images; the images and sounds are not a reference to subjective memory or to a cognitive process, but rather to a multi-form and multi-temporal memory. By taking this mix of viewing and listening into account, the present article will attempt to summarize three exemplary figures: the aesthetic of the trace; non-synchronism ; and the power of images and sounds.
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170.