Propuestas para una reconceptualización surrealista y postmoderna de la sexualidad femenina en los textos de Cristina Escofet e Isabel Allende

Female sexuality has commonly been viewed as the passive counterpart of male sexuality. Building upon Adrienne Rich's theory of compulsive heterosexuality, I would suggest that the fundamental location of this problem lies within the subconscious. Cristina Escofet's stance on this issue is to argue in favor of a deconstruction of Jungian archetypes, revealing their constructed rather than intrinsic character. In this dissertation, I study representative texts by Escofet and Isabel Allende and show not only how they depict patriarchal compulsive heterosexuality, but also try to reconceptualize female sexuality through surrealist and postmodern techniques such as self-reflection, dialogue with our double or Other, and sensorial perception. These techniques are designed to create a new epistemology of jouissance and excess, as defined by contemporary French theory. The significance of my study resides in the interdisciplinary analysis of female sexuality in Hispanic feminist writers. The first chapter proposes that surrealism, postmodernism, and feminism are theoretical frameworks which create new paradigms for social change. In their feminist philosophies, Escofet and Allende emphasize the use of subconscious knowledge as a means of helping them understand the world and create alternative realities. The second chapter shows how Escofet and Allende deconstruct the mysoginist archetype of Eve, which has been largely responsible for identifying women's sexual identity with the disreputable qualities of the femme fatale and whose mirror-image has long plagued women. In accordance with this stereotype, Lillith (Adam's sexually active ex-partner), has typically been portrayed as the negative Other, and for generations the she-devil myth which surrounds her has resurfaced in the media, where she assumes the role of innumerable evil female characters. In the third chapter, I examine how class and race differences have been used to intensify the demonization of different types of sexuality. In the same manner as Lillith and Eve, black and indigenous characters express dissent by retelling their stories in words and performance, and by seeking to form a dialog with their readers. The last chapter deals with the importance of the senses for female characters as they try to create their own sexuality from the fragmented bodies we find in surrealist and postmodern art. In this section we shall see how Luce Irigaray and Hélène Cixous's theories about multiple sexualities are in evidence when Escofet and Allende reconceptualize female sexuality. As no previous scholarship has analyzed the use of the subconscious, the senses, and performance when understanding female sexuality in Latin American literature, this dissertation seeks to provide a tentative exploration of the issues that may help to open up a new field of research in Hispanic feminist cultural studies.

Keynote Address by Karim Rashid

Karim Rashid is one of the most prolific designers of his generation. Over 3000 designs in production, over 300 awards and working in over 35 countries attest to Karim’s legend of design. Karim’s diversity affords him the ability to cross-pollinate ideas, materials, behaviors, aesthetics from one typology to the next, crossing boundaries and broadening consumer horizons. His award winning designs include democratic objects such as the ubiquitous Garbo waste can and Oh Chair for Umbra, interiors such as the Morimoto restaurant, Philadelphia and Semiramis hotel, Athens and exhibitions for LG Hausys and Audi. Karim has collaborated with clients to create democratic design for Method and Dirt Devil, furniture for Artemide and Magis, brand identity for Citibank and Hyundai, high tech products for LaCie and Samsung, and luxury goods for Veuve Clicquot and Swarovski, to name a few. Karim has recently been selected to design several real estate developments in New York City for HAP Investments, a New York City based International investment group. Karim’s work is featured in 20 permanent collections and he exhibits art in galleries world wide. Karim is a perennial winner of the Red Dot award, Chicago Athenaeum Good Design award, I.D. Magazine Annual Design Review, IDSA Industrial Design Excellence award. He holds honorary doctorates from the Ontario college of Art & Design and Corcoran College of Art & Design. 2011 highlighted Karim’s largest retrospective to date at the Triennale, in Milan, Italy. Karim is a frequent guest lecturer at universities and conferences globally disseminating the importance of design in everyday life. Karim has been featured in magazines including Time, Financial Times, NY Times, Esquire, GQ and countless more. His books include From the Beginning, Forma Edizioni (2014), Sketch, Frame (2012), a monograph of 300 drawings and computer renderings of selected works, KarimSpace, Rizzoli (2009), Design Your Self, Harper Collins (2006), Evolution, Rizzoli (2004) and I Want to Change the World, Universe (2001). In his spare time Karim’s pluralism flirts with art, fashion, and music and is determined to creatively touch every aspect of our physical and virtual landscape.

Inventing indigenous religious belief and practice within the spaces of Ghanaian Pentecostalism : the Mame Wata healing churches of Half Assini

Goddesses in African religions are spirits that affect humans and demand reverence from them. They are also embodiments of ideas that African people have about women, their powers and their roles in society. This study focused on Mame Wata, a goddess in Half Assini, an Nzema-speaking coastal community in western Ghana. It sought to resolve a paradox, that is, the fact that, the goddess is at the center of a Pentecostalist tradition even though traditional Pentecostalism in Ghana views her as an agent of the devil. The study involved fieldwork in this community of the goddess's female worshippers led by Agyimah, a charismatic man, and an agent of the goddess. The study interpreted the goddess as a post-colonial invented symbol personifying both pre-colonial and emerging ideas about female power. Findings from the study also show that through Mame Wata the followers celebrate the spirituality of the female.