By Elisabeth Kirtsoglou
This notable ebook exposes the unusual international of the parea--a lesbian mystery society dependent in a small-town bar outdoors Athens, whose contributors meet clandestinely.
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Additional info for For the Love of Women: Gender, Identity and Same-Sex Relations in a Greek Provincial Town
The early feminist reaction to the perception of women as tied to nature through reproduction was to think of the body as a constraint, an ‘obstacle that had to be overcome’ for the sake of the establishment of equality (Grosz, 1994: 16). 29 THEORETICAL REFLECTIONS Within this early perspective the body was identiﬁed as the material basis for women’s oppression, however, its discursive naturalisation was not sufﬁciently questioned. : 17). ’ (1993: 6). For if the body is merely a surface upon which the effects of discourse are inscribed, then it has to be pre-discursive and thus purely natural (Butler, 1993, 1997a: 535).
It is perhaps in this very multiplicity, which does not deny the self her sense of coherence, that the creativity of the subject and its capacity to produce original ‘figurations’ (McNay, 2000: 20; Braidotti, 2002: 13) can be found. Through the different chapters of this work, women will appear who hold multiple and conﬂicting sexualities; subjects who are, to use Strathern’s term ‘partible entities’ (1988: 324). It is Carolina who dances all night with the girls and mourns her separation from her partner Fillipa, while at dawn she kisses her husband goodbye on the cheek and prepares orange juice for her teenage son.
Kirkham and Attﬁeld, 1996; Butler, 1990) implies a dramaturgical approach not only to gender identity but also to the self (Greenberg, 1997). Social life can be seen as a theatre (Dubisch, 1995) where not only masculinities and femininities but the very awareness of the self is developed and tested through performance. Within the framework of such a performative approach to gender and identity, Judith Butler introduced the notion of performativity (1990, 1993, 1997a). According to Butler, performativity is not an act but the rehearsal of a ‘norm’ or a ‘set of norms’ that acquires an ‘act-like status’ (1997a: 538).