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@gouged-doll
this blog is to externally express an internal experience. though i have tried, i have no logic or language for my experience
angelene âą schizophrenic âą lesbian new account 12.31.25 (gougeddoll terminated)

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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â Clarice Lipsector, A Breathe of Life
â Clarice Lipsector, A Breathe of Life
GĂŒnter Brus, Ana, 1964
doll â object â display â gaze â desirability â passivity â possession â objectification -> ideal femininity
puppet â strings â external force â obedience â dependence â visible hierarchy -> domination â submission
automaton â mechanism â internalized force â repetition â habit â discipline â self-regulation â apparent autonomy
woman â socialization â identification â subjectification -> desire â self-surveillance â self-correction â âchoiceâ â consent â agency?
doll â gaze â objectification â passivity â puppet â external control â obedience â automaton â internal mechanism â repetition â discipline â self-surveillance â woman â internalized norm â desire â consent â agency â doubt â who is speaking when i say âi wantâ?

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Paul Hill, Legs over High Tor, Matlock Bath, 1975
Arts Council Collection, Southbank Centre, London
© paul hill/ars
âTogether with the need for control, I mentioned the urge the doll experiences to put the transmigration of their soul into effect. While the directional movement from doll to human is predominant in the cinematographic tradition, in the twenty-first century it is promoted in the opposite direction, which is even more disturbing insofar as it results in an anguishing and oppressive end. It will be the soul or spirit of the human being that suddenly discovers itself to be locked up in the inanimate object. The agent becomes the patient, or rather, the recipient. The only trace that will expose the human origin of that doll inhabited by life, in a very suggestive change of perspective resides precisely in the element that best connects the doll with the inert: the look. All the claustrophobic horror is enclosed in that trapped look, crying out for help voiceless, and the reader or viewer looks on in anguish.
In the dollification of the living reproduced by the aforementioned textual products, it is, as I argued, Patricia Esteban ErlĂ©s who shakes the traditional representation of the diabolic doll motif with the greatest virulence and who most comfortably embodies the âfeminist fantasticâ tag in doing so. First, because she strips the girl of her traditional candid and innocent attributes, making her the monstrous protagonist of her fantastic stories. And second, because by giving a woman the role of the âevil one in the fairy tale,â âfar from perpetuating the image of donna diavola, she is contributing to taking her out of her orbital roles, thus ending her silencing.â
The singularities of [this] work could lead us to extrapolate the idea that there is a certain feminine fantastic, in which female writers consciously make their gender visible by making women the agentive protagonists of their stories, giving them fictional space and, above all, a voice.â
â Raquel VelĂĄzquez, âDeconstructing Feminine and Feminist Fantastic Through the Study of Living Dollsâ
i wish i could just be one or the other

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the purgatorial, liminal space tightrope walk between well and unwell
Clarice Lispector, from The Passion According to G.H.
chema madoz
S&M Devices Catalogue

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the stepford wives (1975)