DOCSLIB.ORG

Copyright by Deanna Beth Shoemaker 2004

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Copyright by Deanna Beth Shoemaker 2004 Copyright by Deanna Beth Shoemaker 2004 The Dissertation Committee for Deanna Beth Shoemaker certifies that this is the approved version of the following dissertation: QUEERS, MONSTERS, DRAG QUEENS, AND WHITENESS: UNRULY FEMININITIES IN WOMEN’S STAGED PERFORMANCES Committee: Joni Jones, Supervisor Jill Dolan Mary Kearney Lynn Miller Stacy Wolf QUEERS, MONSTERS, DRAG QUEENS, AND WHITENESS: UNRULY FEMININITIES IN WOMEN’S STAGED PERFORMANCES by Deanna Beth Shoemaker, M.A., B.F.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin In Partial Fulfillment Of the Requirements For the Degree of Doctor of Philosophy The University of Texas at Austin May 2004 Acknowledgments While this study bears my name only, it reflects the generous support, inspiration, and patience of many others. First, I give my heartfelt thanks to my dissertation support group, my dear friends and colleagues Tessa Carr and Elizabeth Lee Brown, who spent hours reading and rereading this document over the last several years and who consistently offered invaluable insights, challenges, and enthusiasm when I needed it most Because my son was born early in the dissertation process, I owe huge thanks to many friends and family members for their excellent and loving childcare: my “lifesaver” playgroup moms Susana, Eileen, Maraba, and Kimberley; Catherine Berry, Jennifer Haley, Monika Bustamante, Jessica Hedrick, Jenny and Renna Larson, Elizabeth Lee Brown, Alisha Lenning, my neighbor Juanita Monaghan, Sarah Andre, Tom Selsley and Betsy Haude in North Carolina, my mother-in-law Pat Hunt, and most of all, my amazing mother and my persevering partner Stephen Hunt, also a wonderful father. I was deeply honored to work with such a supportive and highly esteemed committee. To Jill Dolan, Mary Kearney, Lynn Miller, and Stacy Wolf: your passion for teaching feminist theory and performance in the classroom and beyond will continue to inspire me for years to come. To my advisor, Joni Jones, who has mentored and inspired me for so long and who first introduced me to performance studies: your dedication, care, intellectual rigor, and vibrant presence have taught me iv what it means to be an unruly scholar, performer, and activist. I will treasure your friendship and profound influence always. Thanks to the artists in this study who took time to talk with me and who inspired me to return again and again to their courageous and important work. I want to acknowledge as well past student colleagues and professors in Communication Studies at the University of Texas at Austin who have greatly contributed to my development as a scholar: Dr. Paul Gray, Dr. Ron Greene, Dr. Dana Cloud, Dr. Marla Morton Brown, Dr. Stacy Holman Jones, Dr. Heather Carver, and Dr. Claire Van Ens. A fond thanks goes out to Deanna Matthews, Margaret Surratt, Jennifer Betancourt, and Susan Corbin, wonderful women who do so many things for so many people in the department. Finally, this work would not have been possible without the years of nurturance I received from all the women in my family, especially my mother, Linda Shoemaker, and my “Granny,” Vivian Gaston. You each attended all those talent shows, baseball games, dance recitals, plays, graduation ceremonies, and various other rites of passage, and your unflagging support of me provided a foundation for seeing this journey through and continues to give me strength. To Steve, thank you for hanging in there, even when it seemed unbearable and never-ending. I only hope I can honor and support your heart’s deepest dreams as you have mine. To my sweet, clever, beautiful son, Aaron Blue Hunt, your dimpled smile, goofy sense of humor, and unconditional love inspired me to keep typing away so I could spend more v magical time with you. You are a wonder to me, and you remind me of all the hope and love that is possible in this world. vi QUEERS, MONSTERS, DRAG QUEENS, AND WHITENESS: UNRULY FEMININITIES IN WOMEN’S STAGED PERFORMANCES Publication No. Deanna Beth Shoemaker, Ph.D. The University of Texas at Austin, 2004 Supervisor: Joni L. Jones This dissertation investigates how women’s staged performances of “unruly femininities” potentially subvert normative understandings of gender and transform systems of representation. I define femininity as a complex, historically shifting, and heteronormative construct both reinforced and perpetuated by dominant discourses and resisted by different women in distinct ways. Thus, “unruly femininities” reflects critical re-stagings of femininity that ultimately break its internal “rules.” The performances examined here foreground a potentially scandalous use of the female voice and body to violate and/or parody heterosexual norms of femininity and masculinity. I focus on women’s self-representations within the public and often contentious realms of feminist theater and women’s performance. My field of study is limited to contemporary women’s performances on traditional theater stages, in popular music, and in the field of visual art in North America. Specifically, I analyze vii a production of Paula Vogel’s play Desdemona: A Play About a Handkerchief, Lois Weaver’s performances both within Split Britches’s show Belle Reprieve and in her solo show Faith and Dancing: Mapping Femininity and Other Natural Disasters, Jacqueline Lawton’s solo performance series “Venus Stands Sublimely Nude,” Patty Chang’s photographic sculptures, Deborah Vasquez’s comic strip character “Citlali La Chicana Superhero,” and Leslie Mah’s performance within the queercore all- female band “Tribe 8.” Reading Elin Diamond’s theory of feminist mimesis in relationship to Brechtian feminist performances of female spectacle and white heterofemininity, queer female-to-femme drag, and stagings of melancholic abjection and “macha femme” menace by women of color, I consider how these performances variously disrupt, deconstruct and transform representations of gender in feminist ways. Differences across race, class, sexuality, and age significantly shape performers’ strategies and issues of audience reception. I argue that while women who use their bodies and voices as vehicles of public protest are often at risk of being “punished” in various ways, they also demonstrate the disruptive power of the unruly woman within systems of representation. viii Table of Contents Chapter 1: Discourses of Femininity, Female Unruliness, and Feminist Performance................................................................................................1 Discourses of Femininity as Performance of “Woman” .........................................7 Female Unruliness and Women’s Staged Performances: Spectacular, Queer, Grotesque, Mimetic Revolts Against Femininity ...................................... 22 Acknowledgements and Contributions to the Field of Performance Studies ......... 28 The Study: Overview, Method, and Organization ................................................ 36 Chapter 2: Staging Spectacles of White Femininity in Desdemona: A Play About a Handkerchief (A Feminist Mimesis).......................................................... 43 “Nice Girls”: Policing Norms of Femininity ........................................................ 45 “Making a Spectacle” (Breaking the Rules)......................................................... 47 Female Spectacle and Brechtian Feminist Mimesis.............................................. 50 Desdemona: A Play About a Handkerchief (An Experiment in Brechtian Feminist Performance Practices).......................................................... 52 Othello’s Absence as Presence: Racism and Whiteness in Desdemona ................ 75 Reception of Feminist Performance Practices ...................................................... 85 Chapter 3: Women Disguised as Women: The Unruly “Femme(nini)tease” of Lois Weaver’s Female-to-Femme Drag.............................................................. 92 “What a Drag!” (Defining Female-to-Femme Drag) ........................................... 95 Camping It Up: Drag’s Ability to “Break the Copy” of Femininity .................. 98 Distinguishing Drag From Masquerade.......................................................... 100 The Femme’s Tease Within the Butch-Femme System...................................... 103 Split Britches’ Hokey Pokey: Serious Hocus Pocus .......................................... 107 Lois Weaver’s Resistant (White) Femme........................................................... 111 The “Dynamic Duo” Splits Up (The Femme’s In/visibility).............................. 118 Stripping the Drag: The Femme’s Dyslexic Tease in Faith and Dancing (Mapping Femininity and Other Natural Disasters) ........................... 125 Reception Issues................................................................................................ 138 Chapter 4: Women of Color Performing Melancholic Abjection: A Grotesque Mimesis of Femininity...................................................................... 141 “Venus Stands Sublimely Nude: It’s the Covering Up That Gets To Me” .......... 149 The Female Grotesque and Abject Black Femininity ......................................... 152 “I’m Sorry” - The Melancholy of Lawton’s “Colored” Abjection...................... 159 Racial Stereotypes and Female Abjection .......................................................... 162 Patty Chang’s Grotesque Mimesis of Feminized Asian Stereotypes................... 169 Racing the Drag as Colonial Mimesis...............................................................
Load more

Recommended publications
  • Mammy Figure
    Mammy: A Century of Race, Gender, and Southern Memory Kimberly Wallace-Sanders http://www.press.umich.edu/titleDetailDesc.do?id=170676 The University of Michigan Press INTRODUCTION The “Mammi‹cation” of the Nation: Mammy and the American Imagination Nostalgia is best de‹ned as a yearning for that which we know we have destroyed. —david blight The various incarnations of the mammy ‹gure have had a profound in›uence on American culture. There is virtually no medium that has not paid homage to the mammy in some form or another. In his series “Ameri- can Myths,”for example, artist Andy Warhol included both the mammy and Aunt Jemima, along with Howdy Doody, Uncle Sam, Dracula, and the Wicked Witch of the West (‹gs. 1 and 2).1 In the late 1980s, Italian pho- tographer Olivero Toscani created an advertisement for Benetton featuring a close-up of a white infant nursing at the breast of a headless, dark- skinned black woman wearing a red Shetland sweater (‹g. 3). The adver- tisement was met with unbridled criticism from African Americans, yet it won more advertising awards than any other image in Benetton’s advertis- ing history.2 Today, tourists visiting Lancaster, Kentucky, can tour the for- mer slave plantation of Governor William Owsley, ironically called Pleas- ant Retreat. The restored home features many remnants of the Old South, including a “charming mammy bench,” a combination rocking chair and cradle designed to allow mammies to nurse an infant and rock an additional baby at the same time.3 Diminutive mammy “nipple dolls” made in the 1920s from rubber bottle nipples with tiny white baby dolls cradled in their arms are both a “well-kept secret”and an excellent investment by collectors of southern Americana (‹g.
    [Show full text]
  • A Southern Belle Goes North a Southern Belle Goes North A
    A Southern Belle Goes North Virgie Mueller A Southern Belle Goes North Virgie Mueller “Let each generation tell its children Of your mighty acts; Let them proclaim your power. I will meditate on your majestic splendor And your wonderful miracles Your awe-inspiring deeds will be on every tongue; I will proclaim your greatness. Everyone will share the story Of your wonderful goodness; They will sing with joy about your righteousness.” A SOUTHERN BELLE GOES NORTH Psalm 145:4-7 Copyright © 2014 by Virgie A. Mueller All rights reserved. No part of this publication my be reproduced without permission. Design and layout – Northern Canada Mission Press ISBN: 978-0-9938923 Printed in Canada Dedication To our children: Steven Mueller, Glen Mueller, and Sheryl Mueller Giesbrecht, who have journeyed with us on paths not necessarily of their choosing, I dedicate this book. They say they have no regrets of being raised on the mission field. God has blessed them and kept them and today they are Godly parents and grandparents. They have raised children who also love the Lord. And To our grandchildren: Tyler Mueller, Rashel Giesbrecht Pilon, Stephanie Mueller Baerg, Graeme Mueller, Joel Giesbrecht, Colton Mueller, Hannah Mueller and Caleb Mueller I dedicate this book. “The Lord bless you and keep you. The Lord make His face shine upon you and be gracious to you; the Lord turn His face toward you and give you peace.” Numbers 6:24-26 Table of Contents Part 1 A Memoir: The Years in Paint Hills, Quebec 1962-1968 The Story of Chapter 1 - The Unknown .
    [Show full text]
  • Dissertation
    DISSERTATION Titel der Dissertation “We’re Punk as Fuck and Fuck like Punks:”* Queer-Feminist Counter-Cultures, Punk Music and the Anti-Social Turn in Queer Theory Verfasserin Mag.a Phil. Maria Katharina Wiedlack angestrebter akademischer Grad Doktorin der Philosophie (Dr. Phil.) Wien, Jänner 2013 Studienkennzahl lt. Studienblatt: A 092 343 Studienrichtung lt. Studienblatt: Anglistik und Amerikanistik Betreuerin / Betreuer: Univ. Prof.in Dr.in Astrid Fellner Earlier versions and parts of chapters One, Two, Three and Six have been published in the peer-reviewed online journal Transposition: the journal 3 (Musique et théorie queer) (2013), as well as in the anthologies Queering Paradigms III ed. by Liz Morrish and Kathleen O’Mara (2013); and Queering Paradigms II ed. by Mathew Ball and Burkard Scherer (2012); * The title “We’re punk as fuck and fuck like punks” is a line from the song Burn your Rainbow by the Canadian queer-feminist punk band the Skinjobs on their 2003 album with the same name (released by Agitprop Records). Content 1. Introduction .......................................................................................................... 1 2. “To Sir With Hate:” A Liminal History of Queer-Feminist Punk Rock ….………………………..…… 21 3. “We’re punk as fuck and fuck like punks:” Punk Rock, Queerness, and the Death Drive ………………………….………….. 69 4. “Challenge the System and Challenge Yourself:” Queer-Feminist Punk Rock’s Intersectional Politics and Anarchism……...……… 119 5. “There’s a Dyke in the Pit:” The Feminist Politics of Queer-Feminist Punk Rock……………..…………….. 157 6. “A Race Riot Did Happen!:” Queer Punks of Color Raising Their Voices ..……………..………… ………….. 207 7. “WE R LA FUCKEN RAZA SO DON’T EVEN FUCKEN DARE:” Anger, and the Politics of Jouissance ……….………………………….………….
    [Show full text]
  • IPG Spring 2020 Rock Pop and Jazz Titles
    Rock, Pop, and Jazz Titles Spring 2020 {IPG} That Thin, Wild Mercury Sound Dylan, Nashville, and the Making of Blonde on Blonde Daryl Sanders Summary That Thin, Wild Mercury Sound is the definitive treatment of Bob Dylan’s magnum opus, Blonde on Blonde , not only providing the most extensive account of the sessions that produced the trailblazing album, but also setting the record straight on much of the misinformation that has surrounded the story of how the masterpiece came to be made. Including many new details and eyewitness accounts never before published, as well as keen insight into the Nashville cats who helped Dylan reach rare artistic heights, it explores the lasting impact of rock’s first double album. Based on exhaustive research and in-depth interviews with the producer, the session musicians, studio personnel, management personnel, and others, Daryl Sanders Chicago Review Press chronicles the road that took Dylan from New York to Nashville in search of “that thin, wild mercury sound.” 9781641602730 As Dylan told Playboy in 1978, the closest he ever came to capturing that sound was during the Blonde on Pub Date: 5/5/20 On Sale Date: 5/5/20 Blonde sessions, where the voice of a generation was backed by musicians of the highest order. $18.99 USD Discount Code: LON Contributor Bio Trade Paperback Daryl Sanders is a music journalist who has worked for music publications covering Nashville since 1976, 256 Pages including Hank , the Metro, Bone and the Nashville Musician . He has written about music for the Tennessean , 15 B&W Photos Insert Nashville Scene , City Paper (Nashville), and the East Nashvillian .
    [Show full text]
  • Organizational Behaviour
    GLOSSARY Organizational Behaviour aggression Aggression can be governed by rituals and set patterns of threat & response, including rituals for backing down. See also competition, cooperation, hormones (esp. testosterone) allophilia How much we like others. People’s attitudes towards immigration, charitable giving, study, voluntary work, and travel are guided by what sorts of groups make them feel good – more based on how much they like Latinos than party affiliation, social and economic status. Tolerance has limits to: despite years of peaceful symbiosis, age-old distinctions between in and out groups can quickly reappear (e.g. Bosnia and Rwanda). Groups accepting a fiat-based truce may compete violently once they get a chance. See also altruism, attachment, trust anxiety . Unfamiliar or dissimilar audience factors and sources . Novel or formal audience . Subordinate status . Conspicuousness or excess attention from audience . Undergoing evaluation . Previous repeated failure Arrow’s Describes that no voting-based system can prevent ‘despotism’ impossibility theorem See also voting assimilation Muslim beliefs hold that, if Muslim-friendly conditions do not exist, they have a duty to migrate in search of more genial places. When disconnected from moorings – customs, family life, and cuisine – a group of people can become fundamentalist and fanatical. into an organization Learn how to write reports, How to analyze data, manage time, produce on a deadline, attend to detail. attachment Strong bond with others. Mammals have a very strong attachment – families, friends, pets, etc. spring from this. Hormone oxytocin. This may be a key element to some types of religious behaviour, i.e. a belief or trust in a deity.
    [Show full text]
  • To Better Serve and Sustain the South: How Nineteenth Century
    CORE Metadata, citation and similar papers at core.ac.uk Provided by Digital Commons at Buffalo State State University of New York College at Buffalo - Buffalo State College Digital Commons at Buffalo State History Theses History and Social Studies Education 8-2012 To Better Serve and Sustain the South: How Nineteenth Century Domestic Novelists Supported Southern Patriarchy Using the "Cult of True Womanhood" and the Written Word Daphne V. Wyse Buffalo State College, [email protected] Advisor Jean E. Richardson, Ph.D., Associate Professor of History First Reader Michael S. Pendleton, Ph. D., Associate Professor of Political Science Department Chair Andrew D. Nicholls, Ph.D., Professor of History To learn more about the History and Social Studies Education Department and its educational programs, research, and resources, go to http://history.buffalostate.edu/. Recommended Citation Wyse, Daphne V., "To Better Serve and Sustain the South: How Nineteenth Century Domestic Novelists Supported Southern Patriarchy Using the "Cult of True Womanhood" and the Written Word" (2012). History Theses. Paper 8. Follow this and additional works at: http://digitalcommons.buffalostate.edu/history_theses Part of the Literature in English, North America Commons, United States History Commons, Women's History Commons, and the Women's Studies Commons Abstract During the eighteenth and nineteenth centuries, American women were subjected to restrictive societal expectations, providing them with a well-defined identity and role within the male- dominated culture. For elite southern women, more so than their northern sisters, this identity became integral to southern patriarchy and tradition. As the United States succumbed to sectional tension and eventually civil war, elite white southerners found their way of life threatened as the delicate web of gender, race, and class relations that the Old South was based upon began to crumble.
    [Show full text]
  • Distribution Agreement in Presenting the Thesis Or Dissertation As a Partial
    Distribution Agreement In presenting the thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature: ______________________________________ _______________ Abigail Parsons Date Sapphic Scarletts, Dixie Dykes, and Tomboys: Representing Female-Bodied Queerness in Contemporary Southern Novels and Films By Abigail Parsons Doctor of Philosophy Women’s, Gender, and Sexuality Studies ________________________________________________________ Martine Watson Brownley, Ph.D. Advisor ________________________________________________________ Michele Schreiber, Ph.D. Committee Member ________________________________________________________ Pamela Scully, Ph.D. Committee Member Accepted: _________________________________________________________ Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies _________________ Date Sapphic Scarletts, Dixie Dykes, and Tomboys: Representing Female-Bodied Queerness in Contemporary
    [Show full text]
  • The Red Sneakers Effect: Inferring Status and Competence from Signals of Nonconformity
    The Red Sneakers Effect: Inferring Status and Competence from Signals of Nonconformity SILVIA BELLEZZA FRANCESCA GINO ANAT KEINAN This research examines how people react to nonconforming behaviors, such as entering a luxury boutique wearing gym clothes rather than an elegant outfit or wearing red sneakers in a professional setting. Nonconforming behaviors, as costly and visible signals, can act as a particular form of conspicuous consumption and lead to positive inferences of status and competence in the eyes of others. A series of studies demonstrates that people confer higher status and competence to non- conforming rather than conforming individuals. These positive inferences derived from signals of nonconformity are mediated by perceived autonomy and moderated by individual differences in need for uniqueness in the observers. An investigation of boundary conditions demonstrates that the positive inferences disappear when the observer is unfamiliar with the environment, when the nonconforming behavior is depicted as unintentional, and in the absence of expected norms and shared standards of formal conduct. Your sweats, PJs and flip-flops are losing you n both professional and nonprofessional settings, indi- money! . Do you crave more confidence, I viduals often make a significant effort to learn and adhere respect and power? . Find out how image to dress codes, etiquette, and other written and unwritten connects to success. (Eve Michaels, author of standards of behavior. Conformity to such rules and social Dress Code) norms is driven by a desire to gain social acceptance and I have a number of super-successful Silicon status (see Cialdini and Goldstein 2004) and avoid negative Valley clients who dress in ripped denim, Vans sanctions such as social disapproval, ridicule, and exclusion shoes, and T-shirts.
    [Show full text]
  • Crossroads Film and Television Program List
    Crossroads Film and Television Program List This resource list will help expand your programmatic options for the Crossroads exhibition. Work with your local library, schools, and daycare centers to introduce age-appropriate books that focus on themes featured in the exhibition. Help libraries and bookstores to host book clubs, discussion programs or other learning opportunities, or develop a display with books on the subject. This list is not exhaustive or even all encompassing – it will simply get you started. Rural themes appeared in feature-length films from the beginning of silent movies. The subject matter appealed to audiences, many of whom had relatives or direct experience with life in rural America. Historian Hal Barron explores rural melodrama in “Rural America on the Silent Screen,” Agricultural History 80 (Fall 2006), pp. 383-410. Over the decades, film and television series dramatized, romanticized, sensationalized, and even trivialized rural life, landscapes and experiences. Audiences remained loyal, tuning in to series syndicated on non-network channels. Rural themes still appear in films and series, and treatments of the subject matter range from realistic to sensational. FEATURE LENGTH FILMS The following films are listed alphabetically and by Crossroads exhibit theme. Each film can be a basis for discussions of topics relevant to your state or community. Selected films are those that critics found compelling and that remain accessible. Identity Bridges of Madison County (1995) In rural Iowa in 1965, Italian war-bride Francesca Johnson begins to question her future when National Geographic photographer Robert Kincaid pulls into her farm while her husband and children are away at the state fair, asking for directions to Roseman Bridge.
    [Show full text]
  • 2 Buck Chuck Anton Lebear Bad Eye Lefty* A.M
    2 Buck Chuck Anton LeBear Bad Eye Lefty* A.M. Wiker Any Time Kid Bad Leg John Abbie Rose Apache Bob Bad Leroy Aces & Eights* Appalachian Cowboy Bad Medicine Acky Mace Appalachian Hillbilly Bad to the Bone Adirondack Kid Appaloosa Kid Badlands Ben Adorable Kissable Katie Apple Pie Badwater Bob Aguafrea Kid Arapaho Kid Badwolf Bart Akarate Zach Arctic Annie Bailey Boy Alabama Arizona Bakwudz Alamo Buck Arizona Cactus Kid Bald Eagle Alamo Kid Arizona CoyDog Bam Bam Alamo Red Arizona Desert Rose Bandana Kid Albuquerque Duke Arizona Nate Bandit Alchimista Arizona Ranger Bandito Bob Ali Cat Arizona Shootist Banker Bob Aliby Arizona Thumber Banning Bandit All Over Arkansas Angel Bar Stool Bob Alleluia Ruah Arkansas Blue Eyes Baraboo Thunder Alley Oop Arkansas Josh Barbwire Alonzo Slim Arkansas Muleskinner Barbwire Bill Alotta Lead Arkansas Outlaw Bar-E Alvira Sullivan Earp Arkansas Smokey Bark River Kid Aly Oakley Artful Dodger Barry James Amazing Grace Ashe Bart Star Amboy Kid Aspen Bashful Ambrosia Auburn Angel Basket Weaver Ambush AZ Filly Bass Reeves American Caliber Aztec Annie Bat Masterson American McGee B.A. Bean Counter Ana Oakley B.S. Shooter Bear Angel Lady Baba Looey Beardy Magee Angel of Valhalla Baby Belle Beaver Creek Kid Angry Jonny Baby Blue Bebop Anna Belle Diamond Baby Boulder Beckaroo Annabell Burns Bacall Bee Stinger Annie B. Goode Bad Boy Beer Money Annie James Bad Bud Belle Annie Moose Killer Bad Burro Beller The Kid Annie Oakley Bad Diehl Ben Quicker Annie Wells Bad Eye Burns Ben Rumson Ben Shootin Black Eyed Susan Bonnie Ringo Ben Wayde Black Gold Booger T Benhittin Black Gun Boomer Benny the Bullet Black Gun Stranger Boot Shot Bent Barrel Black Jack Jim Boothill Bandit BFI Black Rock Rick Boothill Belle Big Al Black Rose Boothill Bryce Big Bad John Black Widow Border Ranger Big Bear Blackball Mason Boss Big Bill Blackbook Boss 45 Big D.J.
    [Show full text]
  • ANDERS ZUHÖREN — Tribe 8S Ästhetische Praktiken: «Disidentification» Und Queere Klassenpolitiken 1
    ATLANTA INA BEYER ANDERS ZUHÖREN — Tribe 8s ästhetische Praktiken: «Disidentification» und queere Klassenpolitiken 1 Ende 2017 kam mit Yony Leysers Queercore. How to Punk A Revolution 2 eine Dokumentation in die Kinos, die die Geschichte von Queercore, einer queeren Strömung im Punk, beleuchtet. In Leysers Film wird auch Lynnee Breedlove interviewt, Sänger bzw. damals noch Sängerin 3 der Band Tribe 8, die sich 1990 1 Ich möchte zunächst Lia Becker in San Francisco gründete und dort 2005 wieder auflöste. Die Band wird nicht herzlich danken für die produktiven Diskussionen über den gemeinsam nur Queercore, sondern auch der bekannteren, feministischen Punkbewegung entwickelten Begriff «Klasse mit der Riot Grrrls zugeordnet. Anfang der 1990er Jahre artikulieren diese neuen Differenz», der in diesem Beitrag noch eine prominente Rolle spielen Punkpolitiken ihren enormen Frust auf die gesellschaftlichen Zustände. Im vo- wird, und für ihre immense Unter­ rangegangenen Jahrzehnt war die christliche Rechte in den USA erstarkt und stützung meiner Arbeit. 2 Queercore. How to Punk a Revolu- sorgte mit ihrer Anti-Abtreibungs-Politik, der Stimmungsmache gegen Aids- tion, Regie: Yony Leyser, D 2017. erkrankte, Homosexuelle und sozial Marginalisierte für einen politischen und 3 Er_sie trat damals noch unter dem Namen Lynn Breedlove auf, kulturellen Backlash.4 inzwischen hat er Namen und Prono­ Tribe 8 lösten mit ihren sexpositiven, oft spektakulären Entwürfen viele Kon- men verändert. 4 Vgl. Atlanta Ina Beyer: Tribe 8, troversen auch innerhalb lesbisch-feministischer Szenen aus. Seit etwa Mitte in: Jonas Engelmann (Hg.): Damaged der 1970er Jahre hatten Themen wie Pornografie, Sadomasochismus oder Goods. 150 Einträge in die Punkgeschich- te, Mainz 2016, 278 – 280, hier 279.
    [Show full text]
  • Symbolic Consumption and Alternative Signals of Status
    Symbolic Consumption and Alternative Signals of Status The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Bellezza, Silvia. 2015. Symbolic Consumption and Alternative Signals of Status. Doctoral dissertation, Harvard Business School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:16881889 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Symbolic Consumption and Alternative Signals of Status A dissertation presented by Silvia Bellezza to The Marketing Department at the Harvard Business School in partial fulfillment of the requirements for the degree of Doctor of Business Administration in the subject of Marketing Harvard University, Cambridge, Massachusetts March, 2015 © 2015 Silvia Bellezza All rights reserved. Anat Keinan Silvia Bellezza Symbolic Consumption and Alternative Signals of Status Abstract My dissertation is composed of three papers on symbolic consumption–how consumers use products, brands, and time to express who they are and signal status. The first paper (Brand Tourists: How Non–Core Users Enhance the Brand Image by Eliciting Pride) demonstrates the positive impact of non-core users of a prestige brand perceived as “brand tourists” into the brand community. The second paper (The Red Sneakers Effect: Inferring Status and Competence from Signals of Nonconformity) investigates the conditions under which nonconforming behaviors, such as wearing red sneakers in a professional setting, can act as a particular form of conspicuous consumption and lead to positive inferences of status and competence in the eyes of others.
    [Show full text]