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As an author and scholar in Puerto Rico, Vanessa Vilches Norat has created the space to politicize both the female body and the nuclear family unit, especially in her work on motherhood.7 In Vilches Norat’s corpus, the figure of the mother and the experience of motherhood have acquired a central focus to combat the silencing and invisibility of the maternal in the Caribbean scholarly canon.8 Instead of privileging the paternal or patriarchal, Vilches Norat constructs a female literary genealogy beginning with the mother and with the maternal discourse, or as she calls it, the matergrafía, which is the root of the autobiographical discourse and text. This subversion that Dávila Gonçalves draws attention to is especially true in the short story, “Del dulce olor de sus pechos”, the only story that chronicles the pregnancy of the protagonist. As I demonstrate in this article, instead of showcasing more conventional notions of the gestation process, the focus of this short story is the pregnant body as an erotic body. “Del dulce olor de sus pechos” narrates the protagonist’s erotic awakening, detailing the heightened carnal cravings that the protagonist experiences for her own body as well as her increased desire for sexual encounters outside of her marital relationship. Traditionally conceived as a deeroticized body, the pregnant body gains visibility in this short story as both a desiring and desirable body.

During the 1830s, Spain was facing epidemic outbreaks of preventable illnesses. A proliferation of hygiene manuals, a genre that promotes healthy habits in order to prevent illness, was part of the response. Hygiene manuals became published with increasing frequency after 1853, the year that marked the success of Felipe Monlau's famous hygiene manual called \"Higiene del matrimonio.\" This hygiene manual, along with most standard medical advice during this period, warned of the dangers, both physical and mental, surrounding female sexuality.

Discipline and field, as regulators of geographical boundaries and methodologies, have profoundly impacted the trajectory of Hutt as a researcher, beginning with her undergraduate degree at Chile's Universidad Católica in the post-dictatorship 1990s and continuing into her work as a professor of Spanish and Latin American literature and women's, gender, and sexuality studies in the US. When she was an undergraduate in letras, fiction and poetry were the dominant objects of study, with great emphasis placed on the literary canon. The literary theory they studied rarely went beyond the late 1970s, and feminist thought and Latin American literary theory received little attention. Courses and thesis seminars, which reflected the faculty's areas of expertise, mostly restricted their research to those two genres and to national and regional boundaries. At the time, she wondered if she should switch to a history concentration so that she could research women's participation in nineteenth-and early twentieth-century journalism, a topic out of bounds in her strictly defined discipline.

In this article, we understand motherhood as a dispositif that shapes social life and gives support to the nuclear family, but that is subject to mutations and reappropriations. Our purpose is to think about the extent to which the film All about my mother, by denaturalizing maternity performances, as well as those of gender and sexuality, stimulates reflexivity on this subject and leads to possible resignifications. We have selected two moments of the textual trajectory ( BLOMMAERT, 2005 ) the film has been following since 1999 and submitted them to the analysis of the entextualization ( SILVERSTEIN; URBAN, 1996 ; BAUMAN; BRIGGS, 1990 ) and scalar processes ( CARR; LEMPERT, 2016 ) mobilized in order to gauge such reflexivity. We have observed that a large part of the queer destabilizations that the film narrative promotes inspire positions in new entextualizations that, in most cases, ratify such destabilizations and manage to expand the concept of motherhood beyond biological and instinctive associations, which prevail in common sense ( SCAVONE, 2001 ; FIDALGO, 2003 ; PINHEIRO, 2014 ).

Early modern scholars continue to recognize and celebrate the Lieutenant Nun as historical figure, gender transgressor, theatrical persona, and myth. Although she never officially professed to any religious order, Catalina de Erauso’s epithet represents two distinct yet relevant realities, one which points to her life as a female novitiate in the Iberian Peninsula, while the other highlights her military prowess as lieutenant in the New World. As early as the title of the alleged self-account of her life, Historia de la monja alférez, Catalina de Erauso, escrita por ella misma, readers become aware of an impending dissonance in gender performance. Consequently, a critical examination of Historia requires the reader to consider questions of gender identity and sexual orientation that are not definitively supported within the text. Such a feat, while seemingly feasible because of sporadic gender-identifying grammatical structures and arguably suggestive episodes of sexual attraction, often leads to a clearly speculative reading based on limited details and little psychological insight from the protagonist. The present article confronts the critical notion that the Lieutenant Nun’s gender performance is a hyperbolic imitation of seventeenth-century gender normative male behavior and seeks to contextualize the authenticity of her masculine persona against the backdrop of the New World male experience.

When one speaks of Latin American slavery as an institution, there is a distinct feeling of incompleteness that greets even the most thorough and wary critic. From a literary angle in particular, the dearth of voices that have survived history in order to narrate their ordeals is noteworthy. While a precious few slaves did indeed learn how to read and write, the literacy that was withheld from the majority served to maintain their experiences far from the written page. The trails that their lives did leave are glimpsed in commercial and judicial discourses that evidence their status as \"productive\" possessions and, occasionally, as veritable subjects fighting for their most basic of legal rights.Nevertheless, the corporeal punishments inflicted upon slaves in Latin America were not simply absorbed without rebuttal; their bodies themselves \"spoke\" eloquently of these wounds. It is in the taboo topic of black sexuality, moreover, that this past corporeal damage can be both expressed and subsequently healed through a renewed female subjectivity in Mayra Santos-Febres's novel Fe en disfraz (2009). Although the protagonist Fe Verdejo lacks the historical experience of these slaves, her study of their narratives and ritualized \"dressing the part\" combine to forge an erotic connection to these voices that provides a fountain of feminine subjectivity. The final manifestation of this bodily interaction reveals a veritable corporeal narrative where the once marginal object adopts a discursive centrality through taboo itself.

We want to analyze the discourse of the lettered class in 19th-century Mexico in order to locate the statements about sexuality and morality that are disseminated in them. In this medical-literary corpus we notice the constitution of a feminine way of being, that is, we imagine how they could have influenced the formation of a subjectivity that assumes certain norms of behavior which, by being normalized, they reproduce said subjectivity. In the historical period that saw the emergence of biopower, new techniques of control and surveillance were invented in Western European societies, including sexual politics about individuals which were transmitted via medical and literary discourses. Mexican elites imported these technologies to apply them to the native population. We demonstrate that in Mexico the discursivity on the need to discipline and domesticate women is clearly laid out in order to consolidate the emergence of a female subject who, cut off from the enjoyment of sexual pleasure, could exercisefully a vital role as a responsible mother and reliable wife. The methodological approach is linked to Michel Foucault´s method of analyzing discourses from an archaeological (analysis of statements) and genealogical (description of power relations) perspectives. Nos proponemos analizar el discurso de los médicos y de los literatos de México en el siglo XIX, con el fin de ubicar los enunciados que, en torno a la sexualidad y la moralidad, en ellos se difunden. Se puede observar en esta discursividad médico-literaria la constitución de un modo de ser femenino, es decir, imaginamos cómo podrían haber influido en la conformación de una subjetividad que asume determinados preceptos de comportamiento que, al ser normalizados, los reproduce. En la época del biopoder, se inventan en las sociedades occidentales europeas nuevas técnicas de control y vigilancia, entre las que sobresale la política sexual sobre los individuos y que se transmiten vía discursos médicos y literarios. Las élites mexicanas importaron estas tecnologías para aplicarlas a la población nativa. Se demuestra que en México se refleja fielmente la discursividad sobre la necesidad de disciplinar y domesticar a la mujer en aras de consolidar la aparición de un sujeto femenino que, cercenado el goce del placer sexual, ejerza una función vital como madre responsable y esposa confiable. El enfoque metodológico nos remite al método foucaultiano de análisis de los discursos desde una óptica arqueológica (análisis de los enunciados) y genealógica (descripción de las relaciones de poder).

The portrayal of masculinity has been a predominant theme in Martin Amis’s fiction, which, in the case of London Fields, triggered a wave of fierce criticism from feminist circles, most notably from Maggie Gee and Val Hennessy. According to these critics, this controversial “bloke” novel is a mere misogynistic caricature aimed to reduce the role of women to objects of the infamous male gaze. However, this paper argues that the depiction of male characters, especially the working-class Keith Talent, conjures an image of a helpless man so strongly driven by the insatiable sexual appetites, which eventually leads to his downfall caused by a disturbingly powerful femme fatale, Nicola Six. The tragicomic epitome of a promiscuous woman by choice, Six transforms herself into a perfect pornographic material for Keith Talent by inviting him to masturbate to her self-made videos. Apart from frequent mentions of sexual acts, the novel presents a thought-provoking view on pornography: Talent perceives reality through the lens of pornographic frames. This analysis is further complemented by Amis’s own behind-the-scenes research into the world of pornography business. Additionally, the characterisation of Keith Talent is examined against the leading theories dealing with the representation of masculinity in contemporary literature. The scrutiny of the relationship between masculinity and pornography in London Fields has not been extensively studied, therefore an analysis combining these closely related issues in London Fields may contribute to a more specific interpretation of Amis’s repulsive, yet strangely intriguing protagonist.

El siguiente artículo se enmarca en la línea de los estudios de redes de cuidados de las disidencias sexuales. Invirtiendo la lectura de la masculinidad femenina de Jack Halberstam, quien ve en las prácticas corporales de identificación masculina de los cuerpos femeninos verdaderas tácticas antropotécnicas de la disidencia sexo-genérica (23) así como encuentros sentimentales de la sexualidad masculina (Kosofsky 33), propongo que las disidencias sexuales en la narrativa chilena del siglo XX han utilizado un imaginario femenino disidente global para enfrentar diferentes momentos de crisis de la identidad nacional. En particular, propongo que los artistas y escritores Augusto D'Halmar, Claudia Donoso, José Donoso, Paz Errázuriz y Pedro Lemebel crearon una red de apoyo en sus trabajos al buscar en la cultura andaluza y flamenca un archivo de prácticas de la disidencia sexual. En mi lectura, es la presencia de la copla andaluza, sobre todo la que refiere a Sara Montiel, la que permite imaginar una genealogía nacional que reinterpreta el canon en clave de \"travestismo trasatlántico\" (Pasten, \"Cofradías\" 48), es decir, estableciendo una red de mutua interpretación de las disidencias entre Chile y España.

Between 1800 and 1975, sexuality in the West was transformed. Hera Cook shows how the growing effectiveness of contraception gradually eroded the connection between sexuality and reproduction. The increasing control over fertility was crucial to the remaking of heterosexual physical sexual behaviour and had a massive impact on women's lives. Dr Coo.