Mark Taylor and Esa Saarinen, “Telewriting”, Imagologies: Media Philosophy, London and New York: Routledge, 1994. Shelley Jackson, "Stitch Bitch: The Patchwork Girl," in Paradoxa 4, 1998b, 526-38. Katherine Hayles, “Flickering Connectivities in Shelley Jackson's Patchwork Girl: The Importance of Media-Specific Analysis”, My Mother was a Computer: Digital Subjects and Literary Texts, Chicago and London: The University of Chicago Press, 2005.
George Landow, Hypertext 2.0: The Convergence of Contemporary Critical Theory and Technology, London: The John Hopkins University Press, 1997.
Shelley Jackson, Patchwork Girl or, A Modern Monster by Mary/Shelley, & Herself, hypertext, Eastgate Systems, Storyspace, 1995 Eliot and Shelley Jackson”, Journal of Gender Studies, Vol. Ěstrid Ensslin, “Women in Wasteland – Gendered Deserts in T. Shelley Jackson, “Stitch Bitch: The Hypertext Author as Cyborg-Femme Narrator”, Amerika On-Line # 7. Ěnn-Marie Tully, „The haunted stitch: Pointure practices in ’material’ contemporary art“, „Pointure“ Exibition, University of Johanesburg Art Gallery, Individual Artists, pp. Alphonso Lingis, Dordrecht: Marinus Nijhoff Publishers, 1987. Ğmmanuel Levinas, “Language and Proximity,” in Collected Philosophical Papers, trans. Paul Valéry, L ’idee fixe, Paris : Gallimard, 1961. The assembled stitched female body as the hypertext-body (Shelley Jackson's hypertext) creates a challenging mediascapes for questioning dominant gender discourses. This feminine gaze is strolling on the boundary of the imaginable, patchworking the plural body, cut through by intertextual practices. Patchwork Girl utilizes the collage technique in creating the flâneuse gaze that destabilizes depictions of the female body as a commodity, domestic figure and patriarchal projections of desire. The pervert gaze of the flâneuse, feminine gaze, can be looked upon from a critical viewpoint and from semiotic „stitches“ in Shelley Jackson’s hypertext Patchwork Girl, or the Modern Monster (1995). Female gaze has too often been associated with consumerist voyeurism, on the one side, or with public invisibility, on the other.
Paradoxical figure of the flâneur becomes the aporetic figure of the flâneuse, measured not by the aesthetic distance between the subject and the object of the gaze, but by proximity, dangerous connectivness and disruptive kinships that escape the „regulated scopophilia“ of falogocentric male gaze. Not so much a research on media representations of women, this paper is an attempt to investigate the (im)possibility of women gazing back, transforming the mediascape into imaginary of the flâneuse, the female stroller. This paper deals with gender performativity in media practices, with interweaving realms of flâneur figure and scopophilia phenomenon seen through cyborgian mythology.
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