There is the fear of having murdered: not someone, not real murder; but of having done something hauntingly wrong. She has learned (learned is a poor word for what has happened to her) that every life is more valuable than her own; her life gets value through motherhood, a kind of benign contamination. She has been having children in her mind, and
Right-wing women have surveyed the world: they find it a dangerous place. They see that work subjects them to more danger from more men; it increases the risk of sexual exploitation. They see that creativity and originality in their kind are ridiculed; they see women thrown out of the circle of male civilization for having ideas, plans, visions,
The Queen's Looking Glass
A final paradox of the metaphor of literary paternity is the fact that in the same way an author both generates and imprisons his fictive creatures, he silences them by depriving them of autonomy (that is, of the power of independent speech) even as he gives them life. He silences them and, as Keats's "Ode on a Grecian Urn" suggests, he stills them, or — embedding them in the marble of his art — kills them.
Sayfa 14
Countries differ, too, in how they treat the income of married couples. Some countries operate a regime of joint taxation, in which the incomes of a married couple are combined and taxed together, as a single unit. The UK used to do this—indeed the UK tax system used to treat the income of a married woman as the property of her husband until comparatively recently. In 1990 the UK switched to a system of independent taxation, in which the income tax is applied on an individual basis, and married couples pay the same tax as they would if they were two single individuals.
Sayfa 16
Orgazmın mahrem tarihi kaynakçası
KAYNAKÇA
Paul Ableman, The Mouth and Oral Sex, Running Man, 1969; Sphere, 1972
(The Mouth adıyla).
Federico, Andahazi, The Anatomist, çev. Alberto Manguel, Doubleday,
1 998.
Amy Anderson, "My G-spot Secret", Landon Evening Standard, 6 Mayıs
2003.
Stephen Bailey (ed.), Sex, Cassell and Co., 1995.
Françoise Barret-Ducrocq,
Sayfa 383 - AgoraKitabı okudu
