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A la différence des procédures initiatiques bien connues des africanistes qui transforment des garçons et desfilles en hommes et en femmes, celles qui sont en place aujourd'hui en pays mandingue--où les grandes initiations d'antan ont disparu--ne sont ni obligatoires ni collectives. Elles constituent un élément faisant parti des ensembles de pratiques que l'article propose d'examiner afin de mettre en lumiere les trajectoires de ceux et celles qui les animent. Il oppose ainsi le corps cynégétique--léger, inaudible, inodore, visant l'invisibilité lorsqu'il évolue en brousse--au corps possédé, mis ostensiblement en scene dans un cadre olfactif, sonore et tactile saturé. La fabrique de ces deux corps contribue a la construction de l'identité complexe des experts rituels : d'un côté les donsow (\"chasseur\"), perçus comme vaillants mais qui souscrivent en même temps a l'ethos du sacrifice en adoptant l'attitude typiquementféminine de dévouement au bien-être des autres, et de l'autre côté, jinatigiw (officiantes du culte de possession) mettant en valeur leur féminité mais s'appropriant simultanément certains attributs, gestes, prérogatives et fonctions considérés comme masculins. L'apparente asymétrie des constructions de genre de ces experts hommes et femmes s'avere moins prononcée qu'elle pourrait le paraître, ce qui conforte l'hypothese selon laquelle l'expertise rituelle repose toujours sur une singularité spatiale et corporelle de ceux qui l'exercent. Cette conclusion permet d'éclairer de maniere inattendue l'identité de nombreux anthropologues, auxquels l'acces peut être offert a la fois aux deux parcours initiatiques et dont l'habitus se trouve nécessairement décalé par rapport aux habitus masculin et féminin tant de leurs hôtes que de leur société. MOTS-CLÉS: corps, spirit, hunting, possession, rituel, sujets virtuoses Unlike the initiatory processes documented in Africanist scholarship that transformed boys and girls into men and women, among the Mande today--where the large-scale initiations of yore have virtually disappeared--initiations are neither required nor collective. they constitute a component of the practices that this article studies, in an effort to illuminate the construction ofthe religious specialists who undergo them. The analysis contrasts to this effect the hunting body--light, silent, odorless, seeking invisibility while in the bush--with the possessed body, ostensibly displayed in a space saturated with smell, sound, and touch. the formation of these two types of bodies allows the construction of the complex identity of ritual experts: on the one hand, donsow, seen as brave but also adopting the typically feminine attitude of devotion to others' well-being as a part of sacrificial ethos, and on the other hand, jinatigiw, leaders of possession cults who emphasize their femininity while simultaneously appropriating certain masculine-associated qualities, gestures, prerogatives, and roles. The apparent asymmetry of these male and female experts' gender construction is less pronounced than it might be, which suggests that ritual expertise always rests upon a spatial and bodily singularity among those who wield it. Paradoxically perhaps, this conclusion also sheds new light on the identity of various anthropologists, to whom access to the two initiatory paths may be offered, but whose habitus is necessarily out of sync with the male and female habitus of their hosts as well as of their own society. KEYWORDS: embodiment, hunting, spirit, possession, initiation rituals, virtuous subjects, gender, Mali

Affective meditation on the Passionwas one of the most popular literary genres of the high and later Middle Ages. Proliferating in a rich variety of forms, these lyrical, impassioned, script-like texts in Latin and the vernacular had a deceptively simple goal: to teach their readers how to feel. They were thus instrumental in shaping and sustaining the wide-scale shift in medieval Christian sensibility from fear of God to compassion for the suffering Christ.Affective Meditation and the Invention of Medieval Compassionadvances a new narrative for this broad cultural change and the meditative writings that both generated and reflected it. Sarah McNamer locates women as agents in the creation of the earliest and most influential texts in the genre, from John of Fécamp'sLibellusto theMeditationes vitae Christi, thus challenging current paradigms that cast the compassionate affective mode as Anselmian or Franciscan in origin. The early development of the genre in women's practices had a powerful and lasting legacy. With special attention to Middle English texts, including Nicholas Love'sMirrorand a wide range of Passion lyrics and laments,Affective Meditation and the Invention of Medieval Compassionilluminates how these scripts for the performance of prayer served to construct compassion itself as an intimate and feminine emotion. To feel compassion for Christ, in the private drama of the heart that these texts stage, was to feel like a woman. This was an assumption about emotion that proved historically consequential, McNamer demonstrates, as she traces some of its legal, ethical, and social functions in late medieval England.

This thesis is an attempt to fill the gap in research present in contemporary South Korean (hereafter Korean) cinema studies in regards to the on-screen representations of modern Korean femininity. In particular, it focuses on the niche character of New Korean Woman, who is depicted as a reflection of the impending cultural and technological transformations of the country in the early 2000s and their influence on women. The figure avoids polarised representations of \"good\" and \"bad\" femininity - often present in contemporary Korean cinema partly due to the neo-Confucian legacy of the nation - and instead explores the concept of an individual choice as a decisive factor in a woman's actions and societal role. The analysed case studies have been chosen from the filmography of accomplished and domestically recognised singer and actor Uhm Jung-hwa, who is here considered the pioneer and originator of the imagery associated with this particular type of cinematic heroine. Uhm and her film works have arguably been an important part of the last two decades of Korean film history. They raise issues crucial to modern women, especially those who seemingly reject the primary roles of wives, mothers and care takers imposed on them by society. The thesis additionally argues that the figure of New Korean Woman has been greatly conditioned by Uhm and her professional persona, first established prior to year 2000 on the music scene. Rather than erasing the existence of her celebrity experience, the thesis asserts that the examination of her film career through the context of her public image maintained outside the cinematic industry can significantly influence and enrich the audience's perception of the protagonists represented by Uhm on the screen. On the other hand, Uhm's establishing of such on- and off-screen 'authenticity' ensures the perception of her image as both familiar and extraordinary to the audiences following her career.

\"Women who kill rupture the assumptions about what a woman is. This book explores different socio-cultural understandings of women who commit, or are accused, of murder. It discusses a wide range of cases in order to highlight the ways in which such women have been perceived\"-- Provided by publisher.

A partir de las series fotográficas Padre Patria (2014–2019) y Vírgenes de la Puerta (2014–2016), de Juan José Barboza-Gubo y Andrew Mroczek, este ensayo reflexiona acerca de la identidad de las mujeres trans en el Perú desde la sexualidad, el mestizaje y la colonialidad del poder. Padre Patria ofrece una narrativa visual de los crímenes de odio hacia la comunidad LGBTI en diferentes lugares del país. En Vírgenes de la Puerta se propone un nuevo modelo de feminidad a través de la apropiación de íconos religiosos como la Virgen María. A partir de enfoques decoloniales, feministas, de diversidad sexual y biopoder, este trabajo indaga sobre la reformulación del retrato fotográfico de las mujeres trans a través de la estética mariana y la violencia patriarcal. La dimensión política de este proyecto fotográfico busca visibilizar las experiencias de las mujeres trans en la actualidad. Based on the photographic series Padre Patria (2014–2019) and Vírgenes de la Puerta (2014–2016), by Juan José Barboza-Gubo and Andrew Mroczek, this essay reflects on the identity of trans women in Peru from the perspective of sexuality, mestizaje , and the coloniality of power. Padre Patria offers a visual narrative of hate crimes against the LGBTI community in different parts of the country. Vírgenes de la Puerta proposes a new model of femininity through the appropriation of religious icons like the Virgin Mary. From decolonial, feminist, sexual diversity, and biopower theories, this work investigates the reformulation of the photographic portrait of trans women through Marian aesthetics and patriarchal violence. The political dimension of this photographic project seeks to render visible the experiences of trans women today.