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EN
Pregnancy is a biographically episodic time when the belly becomes the centre of thefeminine world. This time is characterized by the ambivalence of attitudes and moodswhich are not only hormonally-based but result from the very act of experiencing bodilytransition and duplicating subjectivity, which leads to perturbations connected with thedistinction between the me-body and the me-mothering body (Lewis 2013). In this articlewe analyse selected narrations by women about their bodies, pregnancy, childbirth andmaternity. We focus the analytical process on the somatic motif of the belly, which constitutesthe symbolic centre of perception of a woman’s own body during this time, its transformationsand social interactions dominating the world of the woman expecting a baby.
PL
Pregnancy is a biographically episodic time when the belly becomes the centre of thefeminine world. This time is characterized by the ambivalence of attitudes and moodswhich are not only hormonally-based but result from the very act of experiencing bodilytransition and duplicating subjectivity, which leads to perturbations connected with thedistinction between the me-body and the me-mothering body (Lewis 2013). In this articlewe analyse selected narrations by women about their bodies, pregnancy, childbirth andmaternity. We focus the analytical process on the somatic motif of the belly, which constitutesthe symbolic centre of perception of a woman’s own body during this time, its transformationsand social interactions dominating the world of the woman expecting a baby.
The Biblical Annals
|
2023
|
vol. 13
|
issue 1
83-102
EN
In the Hebrew Bible, the woman’s womb is rendered by three main nouns: רֶחֶם  (most often translated as “womb”), בֶּטֶן (“belly”) and מֵעֶה (plural only: מֵעִים, “bowels”). Although these terms take on various shades of meaning, they very often refer to the female womb. In this context, they always appear in relation to God, who is particularly active in this field. This article aims to show the ways of God’s creative activity in the female womb, which also takes various metaphorical shades.
EN
The first part of this study, explored by Ashley Popp, presents an investigation into a relatively unexamined area of physical education: an analysis of a transcultural phenomenon in the history of dance. Data has been collected from primary sources and archival evidence to assess competing ideologies inherent in the transformation of a particular art form. In the analysis of the cultural migration through which belly dance was transferred from the Middle East to the United States, an adaptive reaction to the hegemonic relationships of culture, race, gender, and class has been observed. Beyond performance aesthetics, links have been made between the act of belly dancing and the building of women’s self-esteem, as researched by Chia-Ju Yen. The main purpose of her study was to explore how facial burn patients cope with disfigurement and the unfriendly attitudes of others, and examines the alteration of body image via inspiration provided by the performance of belly dance. This research was conducted from the perspective of an anthropologically thickdescription research method, and a case study was performed using in-depth interviews, including narratives by a woman who had suffered facial injuries. The results of the research showed that through family support, hard work and a decisive and studious personality, the patient was able to cope with the discriminatory attitude of others. The performance of belly dance not only made her emphasize her body, but also enriched her life.
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