MODERNA SPRAK最新文献

{"title":"L’enseignement de la notion linguistique de symbole à l’aide des symboles culturels pour un public FLE","authors":"Rana Hasan Kandeel, Wafa Bedjaoui, Faten Mansi","doi":"10.58221/mosp.v115i1.6883","DOIUrl":"https://doi.org/10.58221/mosp.v115i1.6883","url":null,"abstract":"Cet article a pour objectif de décrire une démarche de didactisation de la notion de symbole dans un contexte de français langue étrangère (FLE). Dans le cadre d’un module de linguistique qui fait partie d’une formation en traduction, les enseignantes ont rencontré des difficultés à faire comprendre des notions telles que « le symbole » à leurs apprenantes arabophones. Il a donc fallu adapter l’enseignement du concept en mettant en oeuvre des activités sur les représentations culturelles. Cette méthode a aidé les étudiantes à assimiler le concept abstrait de symbole et à acquérir une méthodologie de travail pour l’appréhender. Nous y revenons ici en trois temps. Dans la première partie, nous présentons le cadre théorique qui replace la notion de symbole dans sa relation avec la culture. Nous explorons ensuite les spécificités socio-culturelles et pédagogiques du contexte d’étude, et les difficultés de l’enseignement de la notion en cours de linguistique. Dans la dernière partie, nous mettons en lumière les démarches didactiques mises en oeuvre par les enseignantes de français dans un cours de linguistique pour faciliter l’apprentissage de la notion de symbole. \u0000This article aims to analyze a didactic approach to teach the linguistic concept of symbol in a context of French as a foreign language (FFL). The teachers who taught the linguistics courses found it difficult to inculcate concepts such as symbol to Arabic-speaking learners enrolled in a translation specialization. Therefore, they had to change the way of teaching the concept through the implementation of activities about cultural representations in FFL classes. This method helped the students to assimilate the abstract concept of symbol and to acquire a method to apprehend them. Our article is divided into three parts. In the first part, we present the theoretical framework based on the concept of symbol and its relationship with culture. Then, we proceed to the description of the socio-cultural as well as pedagogical characteristics of our context of study and we analyze the difficulties of teaching symbols. In the last part, we highlight the didactic approaches implemented by French teachers in a linguistics course to facilitate the learning of the concept of symbol, through the learning of French symbols by giving concrete examples from French culture.","PeriodicalId":41279,"journal":{"name":"MODERNA SPRAK","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71362403","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Review of Collective Motherliness in Europe (1890-1939): The Reception and Reformulation of Ellen Key’s Ideas on Motherhood and Female Sexuality eds.Ulla Åkerström and Elena Lindholm (2020), Peter Lang, Berlin.","authors":"Elisabeth Mårald","doi":"10.58221/mosp.v115i1.6910","DOIUrl":"https://doi.org/10.58221/mosp.v115i1.6910","url":null,"abstract":"<jats:p>--</jats:p>","PeriodicalId":41279,"journal":{"name":"MODERNA SPRAK","volume":"45 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71362519","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Le roman (post)migratoire en tant que « roman spatial » : le(s) rôle(s) de l’espace dans Il ne portait pas de chandail d’Annick Walachniewicz","authors":"Przemysław Szczur","doi":"10.58221/mosp.v115i1.6898","DOIUrl":"https://doi.org/10.58221/mosp.v115i1.6898","url":null,"abstract":"L’auteur de l’article propose une analyse du roman Il ne portait pas de chandail de l’auteure belge contemporaine Annick Walachniewicz à travers la notion de « roman spatial ». Il souligne ainsi l’utilité de la perspective spatiale pour rendre compte de la spécificité de la littérature (post)migratoire. Dans le roman analysé, l’espace joue un rôle structurant tant au niveau du discours que de l’histoire. L’on y remarque une spatialisation de la composition et de la lecture romanesques. Les personnages, y compris la représentation de leur psychologie, sont également spatialisés. \u0000Quant à l’espace, il est narrativisé dans la mesure où il reste dans une relation intime avec l’intrigue à laquelle c’est principalement le trajet migratoire du père de l’héroïne-narratrice qui sert de principe dynamique. Au-delà de la dimension référentielle de l’œuvre, le style poétique qui y domine pourvoit les éléments spatiaux représentés d’une dimension symbolique. \u0000En termes géo-nationaux, c’est le territoire polonais qui y joue un rôle particulièrement important car il renferme le secret du père de l’héroïne-narratrice qui se trouve à la source du récit. Bien que la division fondamentale qui organise l’espace représenté dans le roman soit celle entre l’Est et l’Ouest européens, l’héroïne narratrice raconte aussi ses tentatives de dépasser cette dichotomie. \u0000The author of the article offers an analysis of the novel Il ne portait pas de chandail by contemporary Belgian author Annick Walachniewicz through the notion of \"spatial novel\". He thus underlines the usefulness of the spatial perspective to account for the specificity of (post)migration literature. In the analysed novel, space plays a structuring role in terms of both discourse and history. We notice a spatialization of the composition and the reading of the novel. The characters, including the representation of their psychology, are also spatialized. \u0000As for the space, it is narrativized insofar as it remains in an intimate relationship with the plot in which it is mainly the migratory path of the father of the narrator-heroine that serves as a dynamic principle. Beyond the referential dimension of the book, the poetic style that dominates it provides the represented spatial elements with a symbolic dimension. \u0000In geo-national terms, it is the Polish territory that plays a particularly important role because it contains the secret of the father of the narrator-heroine who lies at the source of the story. Although the fundamental division that organizes the space represented in the novel is that between Eastern and Western Europe, the narrator-heroine also recounts her attempts to overcome this","PeriodicalId":41279,"journal":{"name":"MODERNA SPRAK","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71362466","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Tempus, Modus und Modalverben in Notkers Psalmenbuch im Vergleich zu Luthers Psalmenübersetzung und zum neuhochdeutschen Psalter","authors":"M. Kotin","doi":"10.58221/mosp.v115i1.6901","DOIUrl":"https://doi.org/10.58221/mosp.v115i1.6901","url":null,"abstract":"Am Material des historischen und gegenwartssprachlichen Psalmenkorpus (Notkers Psalter, Luthers Psalmenübersetzung in der Redaktion von 1912 und moderne sog. Einheitsübersetzung) wird untersucht, wie die Formen des Tempus, Modus bzw. die Modalverbkonstruktionen bei der Wiedergabe der Zukunft interagieren und wie sich die Modalverbkonstruktionen bei der Kodierung der Vergangenheitsperspektive verhalten. Auf Systemebene wären die (genuin deontischen oder volitiven) Modalverben theoretisch gerade im Althochdeutschen, wo die morphologische Futurform fehlt, ein ideales Mittel zur Kodierung der prospektiven Funktion, insbesondere bei den Verben nichtterminativer Aktionsartklassen, gewesen. Nichtsdestoweniger entscheidet sich Notker in seiner Übersetzung am häufigsten für den Einsatz der Präsensformen des jeweiligen Grundverbs, selbst auf Kosten einer möglichen temporalen Ambiguität der jeweiligen Lesart. Die Modalverbfügungen erscheinen bei ihm in aller Regel lediglich in seinen eigenen Kommentaren und Erläuterungen zu seiner Übersetzung, welche in den Gesamttext integriert sind. Bei Luther und in der modernen Einheitsübersetzung werden dagegen nahezu durchweg die Modalverben verwendet, um die lateinischen Futurformen bzw. die Formen des Präsens Konjunktiv mit Zukunftsbezug wiederzugeben. Bei der Kodierung des Vergangenheitsbezugs fungieren die Modalverben dagegen nur als modale und nicht als temporale Signale. Die Analyse hat gezeigt, dass sich Notker im Haupttext des Psalters generell an die lateinische Sprachform hält, während Luther und die auf ihn folgenden Übersetzer die Möglichkeiten des deutschen Modalverbsystems nutzen, um eine genauere sinngemäße Entsprechung zu bewerkstelligen. Ferner hat sich bestätigt, dass die – overten wie koverten – Signale für Temporalität, Aspektualität bzw. Aktionsart und Modalität nicht autonom auftreten, sondern mehrfache kategoriale Schnittstellen bilden.","PeriodicalId":41279,"journal":{"name":"MODERNA SPRAK","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71362470","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Cruces textuales y reconfiguraciones del deseo: De Leonor Silvestri a Iosi Havilio y Gabriela Cabezón Cámara","authors":"María A. Semilla Durán","doi":"10.58221/mosp.v115i3.6814","DOIUrl":"https://doi.org/10.58221/mosp.v115i3.6814","url":null,"abstract":"La proposición de este artículo consiste en leer, a la luz de los conceptos vertidos por Leonor Silvestri en Ética amatoria del deseo libertario y las afectaciones libres y alegres, dos novelas: Opendoor de Iosi Havilio y Las aventuras de la China Iron de Gabriela Cabezón Cámara. Ambas podrían inscribirse en un intento ficcional de imaginar nuevas formas de organización social y familiar que incluyan la circulación entre los géneros, como instancias posibles e incluso fundadoras de prácticas subversivas y, como tales, emancipadoras. Las dos propuestas son de diversa profundidad, extensión, eficacia y radicalidad, pero ambas rompen los órdenes establecidos y, a la vez, cuestionan mitologías culturales e históricas y hacen estallar los marcos políticos de la dominación. \u0000The proposal is to read two novels following the ideas displayed by Leonor Silvestri in Ética amatoria del deseo libertario y las afectaciones libres y alegres: Opendoor by Iosi Havilio, and Las aventuras de la China Iron by Gabriela Cabezón Cámara. These novels could be understood as a fictional attempt to imagine new ways of social and family organisation, ones that would allow circulation between genders, in order to produce subversive and emancipated practices. The two propositions are different in depth, extent, effectiveness and radicality, but both break the established order and, at the same time, question historical and cultural mythologies, while blowing up political domination’s frameworks.","PeriodicalId":41279,"journal":{"name":"MODERNA SPRAK","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71362595","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"La pornografía en los tiempos del coronavirus","authors":"N. Pascual","doi":"10.58221/mosp.v115i3.6847","DOIUrl":"https://doi.org/10.58221/mosp.v115i3.6847","url":null,"abstract":"El presente ensayo investiga el regalo que el 24 de marzo de 2020 el sitio pornográfico Pornhub ofrece a los usuarios como entretenimiento durante el confinamiento por el coronavirus. Investiga las razones públicas de este presente y el incremento en el consumo de porno que se produce a raíz del aburrimiento que genera la cuarentena. Propone que si bien Pornhub procura protegernos del COVID-19, la reciprocidad a la que nos obliga su obsequio no es simétrica. \u0000This essay investigates the gift that on March 24, 2020, the pornographic site Pornhub offers users as entertainment during the confinement due to the Coronavirus. It investigates the public reasons motivating the gift, and the increase in porn consumption caused by the boredom generated by the quarantine. It proposes that while Pornhub may intend to help protect consumers from COVID-19, the reciprocity its gift obliges us with is not symmetrical.","PeriodicalId":41279,"journal":{"name":"MODERNA SPRAK","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48862262","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"¡Pinastri!: la metamorfosis del deseo sadomasoquista y la subversión de la fantasía pornotópica en The Duke of Burgundy","authors":"Gina Oxbrow","doi":"10.58221/mosp.v115i3.6844","DOIUrl":"https://doi.org/10.58221/mosp.v115i3.6844","url":null,"abstract":"La película The Duke of Burgundy (Peter Strickland, 2014) parece, a primera vista, una película de pornografía blanda al estilo de Bilitis (David Hamilton, 1977) debido a sus bucólicos paisajes verdes en un ambiente aparentemente burgués. El film narra la relación sadomasoquista entre Cynthia, una acomodada académica y conocida entomóloga, y su joven amante, criada sumisa y aprendiz, Evelyn. Las dos viven juntas en un sitio sin nombre o contexto, más bien una pornotopía de deseo desenfrenado. Sin embargo, cuando se interpone la rutina doméstica, comienza a producirse un desequilibrio entre la dominación, la fantasía, la satisfacción y la representación. A lo largo de este trabajo, pondremos de relieve los guiños constantes a las películas de Jess Franco, Armando Bó y Luis Buñuel, lo que nos enfrenta a un pastiche de la representación pornotópica cinematográfica, no solo de las relaciones lesbianas, sino también una parodia sadomasoquista. Se trata de una subversión de aquella pornografía mainstream, dirigida exclusivamente a una mirada masculina heterosexual. En esta película el deseo femenino se empodera a través del desarrollo psicológico de las protagonistas, pues estas no son concebidas como mero objetos de deseo para el espectador, sino como sujetos que viven su sexualidad a plenitud. \u0000At first sight, The Duke of Burgundy (Peter Strickland, 2014) might seem to be a soft-porn film in the style of Bilitis (David Hamilton, 1977) due to the recurring backdrop of bucolic green and leafy landscapes within an apparently bourgeois setting. The film centres on the sado-masochistic relationship between Cynthia, a prosperous academic and well-known entomologist, and her younger lover, who is also her submissive maid and research apprentice. They live together in a de-contextualized location with no name, reminiscent of a pornotopia of unfettered desire. Yet, once mundane domestic routine takes over, this leads to an imbalance between domination, fantasy, satisfaction and role-play. In the following analysis, we shall highlight the constant explicit nods by the director to the films of Jess Franco, Armando Bó or Luis Buñuel, which thus result in the film becoming more of a pastiche of pornotopic cinema productions not only of lesbian relationships, but it ends up being a sadomasochistic parody, too. We are now confronted with a subversion of mainstream pornography, usually directed at a stereotypically male heterosexual audience. In this production, female desire is empowered by means of the psychological development of the lead characters, as they are not represented as mere objects of desire for the viewer’s pleasure, but as subjects enjoying their own sexuality to the full.","PeriodicalId":41279,"journal":{"name":"MODERNA SPRAK","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47705571","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Violencia sexual de la dictadura argentina en clave para/porno/gráfica: “Ni cumpleaños ni bautismos” de Mariana Enriquez","authors":"Mariola Pietrak","doi":"10.58221/mosp.v115i3.6808","DOIUrl":"https://doi.org/10.58221/mosp.v115i3.6808","url":null,"abstract":"La violencia sexual constituyó parte del plan sistemático de tortura durante la última dictadura argentina. La literatura, incluso la de ficción, demuestra cómo el régimen represor volvía pornográficos los cuerpos de las mujeres presas en su doble lógica vejatoria: dictatorial y patriarcal. En diálogo con otros textos culturales (“Cambio de armas” de Luisa Valenzuela o Putas y guerrilleras de Miriam Lewin y Olga Wornat, por ejemplo), “Ni cumpleaños ni bautismos” de Mariana Enriquez formula la denuncia de aquellas prácticas recurriendo a la retórica parapornográfica —de pornografía obtusa, como dirían Roland Barthes y Fabián Giménez Gatto (2011)— que abre el campo de sentido a lo espectral. Esta deriva hacia lo pornogramático y lo fantástico crea nuevas formas de discursividad para narrar no solo aquella experiencia inefable, vuelta tabú, sino también el trauma enquistado en la sociedad. El presente trabajo muestra cómo la discursividad pornográfica en el relato de Enriquez vuelve operativo el potencial contrasistémico de la postpornografía, poniéndola en relación con la crítica de la violencia sexual durante la última dictadura argentina. \u0000Sexual violence was applied systematically as part of the torture plan during the last Argentinean dictatorship. Literature, even of fictional variety, shows how the repressive regime turned the bodies of imprisoned women into pornography in accordance with its double vexatious logic: dictatorial and patriarchal. In dialogue with other cultural texts (“Cambio de armas” by Luisa Valenzuela or Putas y guerrilleras by Miriam Lewin and Olga Wornat, for example), “Ni cumpleaños ni bautismos” by Mariana Enriquez formulates the denunciation of those practices; it resorts to parapornographic rhetoric of obtuse pornography in terms of Roland Barthes and Fabián Giménez Gatto (2011), opening the field of meaning to the spectral. This drift towards the porno-grammatic and the fantastic creates new discursive forms to narrate not only this ineffable, tabooed experience, but also the impact of trauma on the society. This article analyses the ways in which the pornographic discursiveness in Enriquez's story exploits the contrasexual and countersystemic potential of post-pornography, putting it in relation to the criticism of sexual violence perpetrated during the last Argentinean dictatorship.","PeriodicalId":41279,"journal":{"name":"MODERNA SPRAK","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71362590","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Disidencia porno en Love (2015) de Gaspar Noé","authors":"María Del Pino Santana Quintana","doi":"10.58221/mosp.v115i3.6841","DOIUrl":"https://doi.org/10.58221/mosp.v115i3.6841","url":null,"abstract":"Gaspar Noé, uno de los realizadores más controvertidos del panorama cinematográfico actual, a quien Paul B. Preciado incluye en la llamada \"nouvelle vague post-porno\", cuestiona el modelo establecido de representación del sexo en el cine construyendo imágenes que bordean la pornografía. En su polémico filme Love (2015), rodado en 3D, el director franco-argentino recurre a la estética formal y narrativa del lenguaje cinematográfico para filmar de forma creativa y libre de prejuicios una sexualidad abierta y transgresora que huye de las convenciones del discurso pornográfico tradicional y hegemónico, optando por una mirada autoral. \u0000Gaspar Noé, one of the most controversial directors in the current film industry, whom Paul B. Preciado includes in the so-called “post-porn nouvelle vague”, questions the dominant mode of sex representation in film by constructing images verging on pornography. In his provocative 3D film Love (2015), the French-Argentinian filmmaker makes use of the formal and narrative aesthetics of film language to innovatively shoot a transgressive sexuality that discards the visual conventions of traditional and hegemonic porn films in favour of an auteur-driven gaze.","PeriodicalId":41279,"journal":{"name":"MODERNA SPRAK","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71362657","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Representaciones sexuales y estrategias disidentes","authors":"Ángeles Mateo del Pino","doi":"10.58221/mosp.v115i3.6805","DOIUrl":"https://doi.org/10.58221/mosp.v115i3.6805","url":null,"abstract":"la naturaleza del porno ha cambiado mucho en las últimas décadas y con ello hemos asistido a su masiva proliferación, divulgación, difusión, distribución y consumo, hasta llegar a lo que se ha denominado sociedad pornoficada (Lust 2008, Han 2018). No obstante, a la par ha surgido una nueva manera de entender lo porno, aquella que subvierte los códigos –estéticos, políticos y discursivos– de la pornografía mainstream, con la intención de atentar contra la heteronormatividad, el binarismo sexo/género y apostar por nuevas narrativas de placer; es lo que se conoce con el nombre de postpornografía y pornoterrismo. El objetivo que nos anima en este monográfico no es otro que interrogar y cuestionar los mecanismos de producción sexual; debatir en torno a las sexualidades y la pornografía dominante, así como dar a conocer otras representaciones disidentes y otras subjetividades deseantes. Revisar los textos pornográficos, postpornográficos y pornoterroristas nos permite explorar, desde un marco interseccional, cómo se entrelazan distintas categorías: género, sexo, clase social, nacionalidad, etc. A la vez que una mirada hacia/desde América Latina nos ayuda a comprender las especificidades de esos espacios en un contexto glocal. \u0000Talking about pornography in the 21st century is still difficult: porn is uncomfortable. However, the nature of porn has changed a lot in recent decades and with it we have witnessed its massive proliferation, dissemination, diffusion, distribution and consumption, to the point of reaching what has been called a pornified society (Lust 2008, Han 2018). However, at the same time, a new way of understanding porn has emerged, one that subverts the codes - aesthetic, political and discursive - of mainstream pornography, with the intention of attacking heteronormativity, the sex/gender binarism and betting on new narratives of pleasure; this is what is known as post-pornography and pornoterrorism. The aim of this dossier is none other than to interrogate and question the mechanisms of sexual production; to debate sexualities and the dominant pornography, as well as to make known other dissident representations and other desiring subjectivities. Reviewing pornographic, post-pornographic and pornoterrorist texts allows us to explore, from an intersectional framework, how different categories are intertwined: gender, sex, social class, nationality, etc. At the same time, a look towards/from Latin America helps us to understand the specificities of these spaces in a glocal context.","PeriodicalId":41279,"journal":{"name":"MODERNA SPRAK","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71362584","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}