20.500.12556/RUL-185129 Ženska pisava na presečišču filozofije, feminizma in robov popularne godbe Women’s writing in between philosophy, feminism and edges of popular music Diplomsko delo se ukvarja s pojmom »ženske pisave« na presečišču filozofije, feminizma in robov popularne godbe. Besedilo se začne s spolno razliko pri Sigmundu Freudu, nadaljuje s feminizmom Simone de Beauvoir, s plastičnostjo Catherine Malabou in konča s Hélène Cixous in njenim esejem »Smeh Meduze«. Pojem ženske pisave sem torej najprej skušala definirati s pomočjo psihoanalitične konceptualizacije in poststrukturalistične misli, za protiutež pa sem dodala omenjeni esej »Smeh meduze« Cixous, v katerem avtorica opiše »žensko pisavo« (l’ecriture feminine) kot nekaj neulovljivega znotraj falogocentričnega diskurza. S pojmom »ženske pisave« sem nato skušala opisati delo glasbenice Kristin Hayter, ki je nastopala pod psevdonimom Lingua Ignota. Glasbenica predstavlja enega izmed zanimivih primerov vključevanja na glasbeno področje eksperimentalnih in ekstremnih godb, ki so jih v preteklosti zaznamovali predvsem moški, ob tem pa poudarja, da svojega dela ne smatra za feminističnega. Lingua ignota med drugim predstavlja tudi neznani jezik Hildegarde iz Bingna, opatinje iz 12. stoletja, ki je kot ena redkih izobraženih žensk svojega časa razvijala svoj lastni jezik. Za lažje razumevanje pozicije Hayter znotraj glasbene sfere sem se v besedilu obrnila še na muzikologinjo Susan McClary in njeno delo Feminine Endings, sociologinjo Nino Dragičević in njeno delo Slavne neznane ter na delo Annihilating Noise Paula Hegartyja. This thesis explores the concept of »feminine writing« at the intersection of philosophy, feminism, and the fringes of popular music. The text begins with Freud’s concept of the sexual difference, continues with Beauvoir’s anti-essentialism and Malabou’s plasticity, and concludes with Cixous and her essay »The Laugh of the Medusa«. I thus first attempted to define the concept of women’s writing through psychoanalytic conceptualization and poststructuralist thought; as a counterpoint, I included Hélène Cixous’s essay The Laugh of the Medusa, in which the author describes »women’s writing« (l’écriture féminine) as something elusive within phallocentric discourse. I then used the concept of »feminine writing« to describe the work of musician Kristin Hayter, who performed under the pseudonym Lingua Ignota. The musician represents one of the interesting examples of the integration of experimental and extreme music into the musical sphere, a field historically dominated by men, while emphasizing that she does not consider her work to be feminist. »Lingua ignota«, among other things, also represents the unknown language of Hildegard of Bingen, a 12th-century abbess who, as one of the few educated women of her time, developed her own language. To better understand Hayter’s position within the music world, I also drew on the work of musicologist McClary and her book Feminine Endings, sociologist Nina Dragičevič and her book Slavne neznane, and Paul Hegarty’s Annihilating Noise. ženska pisava nasilje plastičnost Lingua Ignota women’s writing violence plasticity Lingua Ignota true false false Slovenski jezik Angleški jezik Diplomsko delo/naloga 2026-07-23 14:39:40 2026-07-23 14:39:48 2026-07-24 04:07:26 0000-00-00 00:00:00 2026 0 0 0000-00-00 NiDoloceno NiDoloceno NiDoloceno 0000-00-00 0000-00-00 0000-00-00 1970-01-01 621264 64855.pdf 64855.pdf 1 307479294E8E5EB5B2594D91CACC7057 04f85ba71d32c1b198fc86fc994e5b07a91c3466c85ac90e6f92aada224e0268 58122386-8693-11f1-9b0d-0050569b8976 https://repozitorij.uni-lj.si/Dokument.php?lang=slv&id=243341 Filozofska fakulteta 0 0 0