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* Marge Piercy's He, She and It presents a rather feminist view on the cyborg issue with Yod who, however, is provided with some male attributes.
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Marge and Piercy's
" Three notable texts of this period are Ursula K. Le Guin's The Left Hand of Darkness ( 1969 ), Marge Piercy's Woman on the Edge of Time ( 1976 ) and Joanna Russ ' The Female Man ( 1970 ).
Ursula K. Le Guin's Always Coming Home fulfils this model, as does Marge Piercy's Woman on the Edge of Time.
Marge Piercy's novel Woman on the Edge of Time keeps human biology, but removes pregnancy and childbirth from the gender equation by resorting to artificial wombs, while allowing both women and men the nurturing experience of breastfeeding.
Many influential feminist utopias of this sort were written in the 1970s ; the most often studied examples include Joanna Russ's The Female Man, Suzy McKee Charnas's Walk to the End of the World and Motherlines, and Marge Piercy's Woman on the Edge of Time.
* Bronwen Calvert ( 2005 ) " Cyborg Utopia in Marge Piercy's Body of Glass ", Foundation: The International Review of Science Fiction, v. 34, n. 95, pp. 52 – 61 ( Autumn 2005 ).
* Eleonora Federici ( 1997 ) " The Ecriture Féminine of a ' Hideous Progeny ': Marge Piercy's He, She and It as a Postmodern Intertext of Mary Shelley's Frankenstein ", Versus: Quaderni di Studi Semiotici, v. 77-78, pp. 119 – 143 ( May-Dec 1997 ).
* William S. Haney, " Cyborg Revelation: Marge Piercy's He, She and It ", chapter 9 of " Cyberculture, Cyborgs and Science Fiction: Consciousness and the Posthuman ( Rodopi 2006, ISBN 90-420-1948-4 )
* Joan Haran ( 2000 ) "( Re ) Productive Fictions: Reproduction, Embodiment and Feminist Science in Marge Piercy's Science Fiction " pp. 154 – 68 IN: Karen Sayer & John Moore ( editors ), Science Fiction, Critical Frontiers.
* Heather Hicks ( 2002 ) " Striking Cyborgs: Reworking the ' Human ' in Marge Piercy's He, She and It pp. 85-106 IN: Mary Flanagan & Austin Booth ( editors ), Reload: Rethinking Women and Cyberculture.
* Dunja M. Mohr ( 2002 ) "' We're All Cyborgs ': Cyberfeminism and the Cyborg as the Transgressive Metaphor of the Future in Marge Piercy's Body of Glass ", pp. 306 – 18 IN: Ursula Pasero and Anja Gottburgsen, Wie Natürlich ist Geschlecht?
* Diane Sautter ( 1996 ) " Erotic and Existential Paradoxes of the Golem: Marge Piercy's He, She and It ", Journal of the Fantastic in the Arts, v. 7, n. 2-3, pp. 255 – 68 ( 1996 ).
* Marge Piercy's website
* Anthony Comstock is one of the four " point of view " characters in Marge Piercy's novel Sex Wars.
* 2006-Linda Wight, " Magic, Art, Religion, Science: Blurring the Boundaries of Science and Science Fiction in Marge Piercy's Cyborgian Narrative.
Marge and She
Religious writer Kenneth Briggs has written that " Marge is my candidate for sainthood [...] She lives in the real world, she lives with crises, with flawed people.
Teenaged Moe is shown again in " She Used to Be My Girl " ( 2004 ), where he is depicted working in the school cafeteria, given as his first job " since prison "; Marge is responsible for having him sent back there.
* Marge Piercy – He, She and It
She has starred in a number of films, including her Academy Award-winning performance as Marge Gunderson in Fargo, in 1996.
He, She and It ( published under the title Body of Glass outside the USA ) is an award-winning feminist science fiction / cyberpunk novel by Marge Piercy, published in 1991.
She is best known for her starring roles on television as Ma Larkin in The Darling Buds of May, and as Laura Thyme in Rosemary & Thyme, and for her parts in the family films based on works by British authors as Miss Trunchbull in Matilda and as Aunt Marge in Harry Potter and the Prisoner of Azkaban.
She talks Marge into using them, attacking her inability to stop trying to be stronger, and also advises Marge to enter a women's bodybuilding contest.
She wins second place, which irritates Marge when her muscular ears overhear her family's unhappy conversation in the audience.
She splits the map in two, giving one piece to Homer and Bart and keeping one piece for her and Marge.
After Burns insults Homer's weight and children, Marge insists that he leave the house and is ready to quit until Homer encourages Marge to finish the painting: She also gets a reply from Starr, who is decades behind on answering his fanmail, praising her artwork.
She believes he could have taken better care of Marge because he was rich and she did not have to worry about getting a job.
She was first mentioned in the series premiere in a Christmas letter Marge is writing where she explains that Snowball had died that year and went to " kitty heaven ".
" She cited Homer's line to Marge as he and Bart leave for the Edison Museum, " I'm-taking-Bart-over-state-lines-back-soon-I-have-your-wallet-bye!
She even calls Marge and asks if she can return, but Marge, who enjoys the lifestyle of lying all day in bed not working, lies to Lisa saying she is still too injured to come back.
She continues to attend the tap classes after being pressured by Homer and Marge, but when the class plans a dance recital, Lisa finds that she will not be dancing and has been relegated to pulling the curtain to open the show.
She drunkenly dictates an e-mail to Artie to congratulate him on his appearance, but Patty and Selma doctor it to use sexual terms in an attempt to split up Marge and Homer, much to Marge's horror ( for using the word sex on the Internet ).
She wakes up and asks Marge whether they can afford to send her to college.
Marge and presents
The episode " That ' 90s Show " ( season 19, 2008 ), however, contradicts much of the established backstory ; for example, it presents Homer and Marge as being childless in the late 1990s.
That night at her birthday dinner, Marge is happy with the kids ' presents of " French " perfume from Bart and a macaroni and glue card from Lisa.
At bedtime on Christmas Eve, Marge tells everyone no one may open presents until 7 AM, and just to make sure there is no cheating, she confiscates all of the alarm clocks.
Marge and rather
Voices were needed for the shorts, so the producers decided to ask Kavner and fellow cast member Dan Castellaneta to voice Marge and Homer rather than hire more actors.
Voices were needed for the shorts, so the producers decided to ask Castellaneta and fellow cast member Julie Kavner to voice Homer and Marge Simpson rather than hire more actors.
Voices were needed for the shorts, so the producers decided to ask Kavner and fellow cast member Dan Castellaneta to voice Marge and Homer rather than hire more actors.
Other characters included Ed's wife Marge Huddles ( voiced by Jean Vander Pyl, also the voice of Wilma Flintstone ), their rather jovial if acerbic neighbor Claude Pertwee ( voiced by Paul Lynde ) who tended to refer to Ed and Bubba as " savages "
Voices were needed for the shorts, so the producers decided to ask Castellaneta as well as Julie Kavner to voice Homer and Marge, rather than hire more actors.
Marge and Homer now need a babysitter and hire Ms. Botz through the local " Rubber Baby Buggy Bumper babysitting service " ( however they have to call themselves the " Samsons ", since their kids have a rather bad reputation with the babysitting service ).
Castellaneta and Kavner had been part of the regular cast of The Tracey Ullman Show and voices were needed for the shorts, so the producers decided to ask them to voice Homer and Marge rather than hire more actors.
Homer and Marge go to see David and Marge expresses her disappointment that the kids are at home watching " a cat and mouse disembowel each other " rather than seeing the sculpture.
Sadly the Canyonero doesn't survive the experience of this episode, which would have been nice, if only to see Marge regularly at the wheel rather than Homer.
Artie, who over the years seems to have developed a rather frightening obsession with Marge ( his house is decorated with a large number of ' Marge ' sculptures / paintings ), flies in his helicopter to the Simpson house to see Marge.
Marge and Homer in the golf course is a reference to the season 3 episode " I Married Marge ", although in that episode they are in a castle, rather than a windmill.
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