DOCSLIB.ORG

Dissertation Final Draft

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dissertation Final Draft UNIVERSITY OF CALIFORNIA RIVERSIDE Dance, Dress, Desire: Drag Kings, Prison Wear, and the Dressed, Dancing Body A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Critical Dance Studies by Tania Nicole Hammidi December 2010 Dissertation Committee: Dr. Marta Savigliano, Chairperson Dr. Dylan Rodriguez Dr. Vorris Nunley Professor Erika Suderburg Copyright by Tania Nicole Hammidi 2010 The Dissertation of Tania Nicole Hammidi is approved: ____________________________________________ _____________________________________________ ____________________________________________ _____________________________________________ Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS This dissertation would not have been possible without the support and friendship of some wonderful people. My committee, in particular, has been a dream team, in Robin Kelley’s sense of the word. Each has inspired a belief in achieving the impossible and doing so with grace, integrity, depth, and health. Each committee member in their own way has modeled for me the kind of scholar and professor I hope to become. For their generosity, patience, and faith as I waddled through this project, I thank them. Each are snappy dressers in my humble opinion, a fact that has been neither inconsequential nor unimportant in my growth and development as a scholar of costume and performance. Thank you. My gratitude to the U.C. Riverside Department of Dance for being a fertile intellectual climate to journey as a graduate student. I thank my graduate colleagues and friends – with special mention of Hannah Schwadron, dancer, friend, and yoga instructor – for suggesting that doing a downward dog could inspire a new world view, in seconds. I am heartily thankful for my dissertation chair, Dr. Marta Savigliano, whose encouragement, supervision, and support from early graduate classes to the last moment of the dissertation fostered in me the courage to dive deep, press the writing, and remain as intricate as possible in shaping thoughts and feelings, into words. The time, music, and thoughts Dr. Savigliano and I have shared have been wonderful moments of joy and growth. Working with Dr. Dylan Rodriguez, Professor Erika Suderburg, and Dr. Vorris Nunley has been nothing short of amazing. I would not have been able to make the iv connection between dress, architecture, and the state without Dr. Rodriguez, nor understood the depth of these connections. Likewise, the conversations about art, lesbian, and feminist histories with Professor Suderburg gave me hope, a sense of belonging, and pride in my work and in the people who’s footsteps I hoped to follow as a scholar-artist, including her’s. To Dr. Nunley, I thank for teaching me about the harlot of the arts, rhetoric, as connected to ornamentation and knowledge. All three, as Dr. Savigliano, have been invaluable in getting through this project. Thank you! Gracias! Shukran! Merci! My late parents, Beulah Marie Combs, and Ibrahim Beesheer Hammidi did not make it to see me through this project. I am eternally grateful to them. My parents were funky, smart, and had passion. They would have liked this work. To my brother, Marc Alain Hammidi, I thank for being my muse, buddy, and an extremely intelligent walker of life. There are many friends, performers, and scholars that I wish to acknowledge. Thanks to Sean Dorsey, Julius Kaiser, Kyrham Mutazioni Profane, Ocean, Gremlin, The Windy City Smarmies, Heywood Wakefeld, Team ITCH (Taisha Pagget, Meg Wolf, Sara Wolfe), Julie Tolentino, Ron Athey, Juliana Snapper, Pig Pen, Jennifer Doyle, Robert Summers, Deborah Najor, Nadine Naber, Dina Al-Kassim, Akira Lippit, Jasbir Puar, Laura Farha, Chris Lymbrotos, Amanda Taylor, Meesh Mousavi, Deborah Martin, Evren Savci (my writing buddy), and Ying Zhu for great performance, fly-by coaching, strong shoulders, movement training, good jokes, books, and spirits. I would like to make special thanks to my vocal coach, Juliana Snapper, for taking this drag king beyond the lip-synch, both intellectually and artistically, to song. v ABSTRACT OF THE DISSERTATION Dance, Dress, Desire: Drag Kings, Prison Wear, and the Dressed, Dancing Body by Tania Nicole Hammidi Doctor of Philosophy, Graduate Program in Critical Dance Studies University of California, Riverside, December 2010 Dr. Marta Savigliano, Chairperson In this dissertation, I make an argument for the inclusion of a more rugged critical approach to costume in performance, focusing on contemporary drag king performance as a genre. I make the argument that clothing fundamentally effects choreography. I further suggest that dance studies provides a fertile ground for recognizing and interpreting kinging as a physical practice, even while LGBTIQ dancers, choreographers, and performers continue to confront the homo- and trans- phobias of the dance industry and linked scholarship produced to interpret dance. Forwarding a notion of “the dressing, dancing body” as a response to humanist conceptions of “the fleshy body” as a unified, biologically-based entity, I challenge the homo- and trans- phobia of the industry and of normative dance scholarship by providing an intimate, scavenger, and multi-sensual methodology for approaching costume in performance. This gesture transgresses the stable boundaries of interpretation and subject-object relations at its core, queering conventional scholarship and invoking desire, feelings, vi imagination, texture, sound, and ornamentation into the formula of knowledge production. I look at the costumes of drag kings in contemporary drag king cabaret and at women’s prison uniforms in the context of federal incarceration as material sites where dress, desire, and dance come together in U.S. statecrafting. What brings these two seemingly disparate subjects together – drag kinging and prison wear -- is their common enemy: a violent state praxis designed to corporealize normative U.S. citizenship by controlling the dress and movements of all bodies. I foreground the centrality of the sartorial in the subject-formation of drag kings and female political prisoners, as a strategy for accounting for kinging’s exclusions from normative dance on the one hand, and for exposing how the U.S. State historically invests in dress policy and enforcement. Finally, drawing out a theory of sound and drag king subject formation and of “sonic rub” of drag king costumes as they touch the performing body, this dissertation in its repose offers a critical approach to drag kings attentive to embodiment, costume, and the sonic home-base of the drag king performance. vii TABLE OF CONTENTS Page Abstract vi List of Figures ix Chapter 1. SEXUALITY, DANCE, COSTUME Introduction 1 The Dressed, Dancing Body 5 Approaching Costumes 7 Ornamentation 11 Contributions, Methodology 16 Dress Histories 23 Drag Kings and Dance: Boxing Hegemony 34 Dissertation Chapters Breakdown 45 Chapter 2. ORNAMENTATION AND IMAGINATION Knitting Dreams 52 Ornament as a Crime 57 Becoming Oriented 61 Imagination and Liberation 73 A Picture of Love 77 Drag King Dream City 81 Building, Dressing, Dwelling 87 Chapter 3. PRISON WEAR, SOLITARY CONFINEMENT, AND AN UPTURNED COLLAR The Living Dead 97 Dress as Punishment 102 The State of Affairs Inside the U.S. Prison Regime (which is everywhere) 107 High Security Female Confinement – Lexington, Kentucky, 1988 111 The Striped Prison Uniform 118 High Security Nation Building/s 130 Federal SWAT Wear 139 Prison Wear and U.S. Citizenship 144 Forced Dress and King’s Captive Queer Bodies 147 Denim Archive 149 CHAPTER 4. SOUND IN DRAG KING PERFORMANCE Sound as Prosthetic 152 Drag Kings as Gendered Musical Subjects 156 The Sonic Rub 161 An Autre Écoute – Feminist Contestations to Listening Authority 170 Drag, Sound, and Subject Formation 178 CHAPTER 5. CONCLUSION: DRAG KINGS AND BELONGING 189 Bibliography 203 viii LIST OF FIGURES Page Photo 1 Windy City Smarmies, International Drag King Extravaganza 10 69 Photo 2 Rusty Hips, San Francisco Drag King Contest 15 80 ix CHAPTER 1 SEXUALITY, DANCE, COSTUME “In other words she has fully embodied the costume and it is now an extension of herself” Ryan Jordon, 1997 Introduction Two curiosities and one great disappointment inspired me to pursue doctorate work in dance. The first curiosity came from observing the world of dance as an outsider to the community, while a resident of the greater Bay Area during the 1990’s. I observed that dance as a physical practice was filled with many gay male and some lesbian dancers, yet there appeared to be very few butch lesbians and even fewer transmen laboring as dancers in the field. As a drag king who took dance classes as a way to refine my technical skills as a mover, I found this absence of “my people” psychically jarring and a challenging intellectual puzzle. I wondered, was there something essential to the construction of female masculinities or female-to-male (FTM) gender identities in combination with queer, dyke, or lesbian erotic desires that discouraged most butches, gender-queers or FTM’s from pursuing dance, either casually or professionally? Or was this demographic simply the result of everyday butch, trans, homo, and queer discrimination in the culture(s) of dance, linked to the larger project of unifying the U.S. nation based on notions of a racially white and gender-normative, hetero U.S. citizenship? I knew I often felt uncomfortable in even 1 the most hip or “liberal” dance class because of the rigid gender binaries that organized the class’ activities and techniques. I experienced loneliness without other butches or gender-deviants in the classroom with whom to identify, rehearse movements, and create mini-narratives for dancer exercises that reflected our lives and interests in dance. Many of my drag king friends in the San Francisco Bay and New York City areas had access to dance, yoga, and movement classes filled with gender-queer people (with creeps and wierdos like me, as the 2009 Radiohead song goes), which was not my case in graduate school. The second curiosity that drove me to pursue doctorate work in dance arose out of my occupation as a wildland fire fighter for six years.
Load more

Recommended publications
  • III. Discussion Questions A. Individual Stories Nathaniel Hawthorne
    III. Discussion Questions a. Individual Stories Nathaniel Hawthorne, “Rappaccini’s Daughter” (1844) 1. As an early sf tale, this story makes important contributions to the sf megatext. What images, situations, plots, characters, settings, and themes do you recognize in Hawthorne’s story that recur in contemporary sf works in various media? 2. In Hawthorne’s The Scarlet Letter, the worst sin is to violate, “in cold blood, the sanctity of the human heart.” In what ways do the male characters of “Rappaccini’s Daughter” commit this sin? 3. In what ways can Beatrice be seen as a pawn of the men, as a strong and intelligent woman, as an alien being? How do these different views interact with one another? 4. Many descriptions in the story lead us to question what is “Actual” and what is “Imaginary”? How do these descriptions function to work both symbolically and literally in the story? 5. What is the attitude toward science in the story? How can it be compared to the attitude toward science in other stories from the anthology? Jules Verne, excerpt from Journey to the Center of the Earth (1864) 1. Who is narrator of this tale? In your opinion, why would Verne choose this particular character to be the narrator? Describe his relationship with the other members of this subterranean expedition. Many of Verne’s early novels feature a trio of protagonists who symbolize the “head,” the “heart,” and the “hand.” Why? How does this notion apply to the protagonists in Verne’s Journey to the Center of the Earth? 2.
    [Show full text]
  • Transgender Representation on American Narrative Television from 2004-2014
    TRANSJACKING TELEVISION: TRANSGENDER REPRESENTATION ON AMERICAN NARRATIVE TELEVISION FROM 2004-2014 A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Kelly K. Ryan May 2021 Examining Committee Members: Jan Fernback, Advisory Chair, Media and Communication Nancy Morris, Media and Communication Fabienne Darling-Wolf, Media and Communication Ron Becker, External Member, Miami University ABSTRACT This study considers the case of representation of transgender people and issues on American fictional television from 2004 to 2014, a period which represents a steady surge in transgender television characters relative to what came before, and prefigures a more recent burgeoning of transgender characters since 2014. The study thus positions the period of analysis as an historical period in the changing representation of transgender characters. A discourse analysis is employed that not only assesses the way that transgender characters have been represented, but contextualizes American fictional television depictions of transgender people within the broader sociopolitical landscape in which those depictions have emerged and which they likely inform. Television representations and the social milieu in which they are situated are considered as parallel, mutually informing discourses, including the ways in which those representations have been engaged discursively through reviews, news coverage and, in some cases, blogs. ii To Desmond, Oonagh and Eamonn For everything. And to my mother, Elaine Keisling, Who would have read the whole thing. iii ACKNOWLEDGMENTS Throughout the research and writing of this dissertation, I have received a great deal of support and assistance, and therefore offer many thanks. To my Dissertation Chair, Jan Fernback, whose feedback on my writing and continued support and encouragement were invaluable to the completion of this project.
    [Show full text]
  • Nationalism, Primitivism, & Neoclassicism
    Nationalism, Primitivism, & Neoclassicism" Igor Stravinsky (1882-1971)! Biographical sketch:! §" Born in St. Petersburg, Russia.! §" Studied composition with “Mighty Russian Five” composer Nicolai Rimsky-Korsakov.! §" Emigrated to Switzerland (1910) and France (1920) before settling in the United States during WW II (1939). ! §" Along with Arnold Schönberg, generally considered the most important composer of the first half or the 20th century.! §" Works generally divided into three style periods:! •" “Russian” Period (c.1907-1918), including “primitivist” works! •" Neoclassical Period (c.1922-1952)! •" Serialist Period (c.1952-1971)! §" Died in New York City in 1971.! Pablo Picasso: Portrait of Igor Stravinsky (1920)! Ballets Russes" History:! §" Founded in 1909 by impresario Serge Diaghilev.! §" The original company was active until Diaghilev’s death in 1929.! §" In addition to choreographing works by established composers (Tschaikowsky, Rimsky- Korsakov, Borodin, Schumann), commissioned important new works by Debussy, Satie, Ravel, Prokofiev, Poulenc, and Stravinsky.! §" Stravinsky composed three of his most famous and important works for the Ballets Russes: L’Oiseau de Feu (Firebird, 1910), Petrouchka (1911), and Le Sacre du Printemps (The Rite of Spring, 1913).! §" Flamboyant dancer/choreographer Vaclav Nijinsky was an important collaborator during the early years of the troupe.! ! Serge Diaghilev (1872-1929) ! Ballets Russes" Serge Diaghilev and Igor Stravinsky.! Stravinsky with Vaclav Nijinsky as Petrouchka (Paris, 1911).! Ballets
    [Show full text]
  • Baraldini V. Meese
    District of Columbia live database - Docket Report https://ecf.dcd.uscourts.gov/cgi-bin/DktRpt.pl?409392322236512-L_35... APPEAL, TYPE-E U.S. District Court District of Columbia (Washington, DC) CIVIL DOCKET FOR CASE #: 1:88-cv-00764-AER BARALDINI, et al v. MEESE, et al Date Filed: 03/22/1988 Assigned to: Aubrey E. Robinson Date Terminated: 03/21/1990 Demand: $0 Jury Demand: None Cause: 28:1331 Federal Question: Other Civil Rights Nature of Suit: 550 Prisoner: Civil Rights Jurisdiction: U.S. Government Defendant Plaintiff SILVIA BARALDINI represented by Alexa Perry Freeman 9632 Kensington Parkway Kensington, MD 20895 (301) 962-4960 LEAD ATTORNEY ATTORNEY TO BE NOTICED Adjoa Ayitoro AMERICAN CIVIL LIBERTIES UNION National Prison Project 1616 P Street, N.W. Suite 340 Washington, DC 20036 ATTORNEY TO BE NOTICED Plaintiff SYLVIA BROWN represented by Alexa Perry Freeman (See above for address) LEAD ATTORNEY ATTORNEY TO BE NOTICED Adjoa Ayitoro (See above for address) ATTORNEY TO BE NOTICED Plaintiff SUSAN ROSENBERG represented by Alexa Perry Freeman (See above for address) LEAD ATTORNEY ATTORNEY TO BE NOTICED Adjoa Ayitoro (See above for address) ATTORNEY TO BE NOTICED 1 of 16 6/18/2007 1:55 PM District of Columbia live database - Docket Report https://ecf.dcd.uscourts.gov/cgi-bin/DktRpt.pl?409392322236512-L_35... V. Defendant EDWIN A. MEESE, III represented by John Charles Cleary Attorney General of the United States of LEBOEUF, LAMB, GREENE & America MACRAE,LLP 125 West 55th Street New York, NY 10019 (212) 424-8273 LEAD ATTORNEY ATTORNEY TO BE NOTICED Defendant MICHAEL J. QUINLAN represented by John Charles Cleary Director, Bureau of Prisons (See above for address) LEAD ATTORNEY ATTORNEY TO BE NOTICED Defendant G.
    [Show full text]
  • Revisiting the Etymology of Zanni
    REVISITING THE ETYMOLOGY OF ZANNI Anna Moro It has long been maintained that the etymology of zani, zanni – the servant or buffoon of the commedia dell’arte – is a northern Italian variant of the proper noun Giovanni, or its shortened form, Gianni. In Tommaseo and Bellini’s Dizionario della lingua italiana , published in Turin between 1865 and 1879, it is stated that the term is “voce bergamasca, accorciata dall’intero nome Giovanni, che rappresenta un Servo semplice e goffo bergamasco.” 1 Tommaseo and Bellini’s explanation of the origin of the term is basically what is found in modern etymological dictionaries, such as Battisti and Alessio’s Dizionario etimologico italiano (DEI) and Cortelazzo and Zolli’s Dizionario etimologico della lingua italiana (DELI). The earliest attestation of the term appears to be the 15th century, according to Battisti and Alessio, but a precise reference is not given. 16th century attestations of zani / zanni corresponding to the servant character of the commedia dell’arte , of course, abound. There is no doubt that the term zani was widely used in the 16th century in Italy to designate the servant character of the commedia dell’arte ; and it is during the 16th century that the term spread outside of Italy: it is found in French, for example, as zani from 1550, and in English, as zany , later in the century (Migliorini 1983: 426). In the Oxford English Dictionary (OED) , the noun zany (with various spellings), which preceded the use of term as 1 Cited in M. Cortelazzo and P. Zolli, Dizionario etimologico della lingua italiana (DELI), Bologna: Zanichelli, 1992 (1980): 1463.
    [Show full text]
  • DOC510 Prisons the Freedom Archives [email protected]
    DOC510 Prisons Organizational Body Subjects ABC Anarchist Black Cross; Anarchist Prisoners' Legal Aid Network; Critical Resistance; Green Anarchy; Barricada Collective; Attica Committee to Free Black Liberationl Civil Rights; Dacajeweiah; Attica Defense Committee; National Lawyers Guild; Women of Youth Against War & Fascism; National Coalition of Concerned Legal Drugs; Human Rights; Professionals; Black Cat Collective, Nightcrawler ABC; Paterson anarchist Collective; Arm the Spirit; Bulldozer; Buffalo Chip; California Prison focus; Break Indiginous Struggle; Native The Chains Collective; Human Rights Research Fund; National Task Force for COINTELPRO Litigation & Research; Youth Law News; American Friends Service American; Political Prisoners; Committee; Prisoners Rights Union; Brothers for Awareness; Committee to Close MCU; Amnesty International; Health Committee of the Campaign to Prison; Women; Anti- Abolish Lexington Control Unit; Spear & Shield; International concerned Family and Friends of Mumia Abu Jamal; Pacifica Campaign; Free the Five Imperialism; Anti-Racism; Committee; Miami Coalition Against the US Embarcargo of Cuba; Free the Five Committee; New Orleans Time Pcayuue; Organizatio in Solidarity with the COINTELPRO; Resistance; Peoples of Africa, Asia and Latin America; Western Region United Front to Free All Political Prisoners; Tear down the Walls; The Jericho Movement; Unions; Torture California Coalition for Women Prisoners; Legal Services for Prisoners with Children; Families Against Mandatory Minimums, Lindesmith Center-Drug
    [Show full text]
  • Strange Prehistoric Roleplaying
    Strange Prehistoric Roleplaying Rules, Setting and Layout by Emmy Allen System Inspiration includes First and foremost, Dungeons and Dragons, by Dave Arneson and Gary Gygax and similarly, various games in the old school revival, particularly Lamentations of the Flame Princess, by James Raggi Beyond the Wall, by John Cocking and Peter S Williams Adventurer, Conqueror, King by Alexander Macris And the rules published online at lastgaspgrimoire.com All images used are in the public domain. Thanks go to recidingrules.blogspot.co.uk, who has a wonderful collection of them. This work is licensed under the Creative Commons Attribution - Non-Commercial 4.0 International Li- cense. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/4.0/. You are free to share (including copying and distributing) and adapt (by altering, adapting or building on) this material as you wish, so long as the author is given appropriate credit and any reuse is on a non -commercial basis. 2 Contents Index - 3 Introduction - 4 Spells –54 Spells by Level –54 The Basics – 5 Spells (A-C) -56 Spells (D-G) -61 Character Creation - 6 Spells (H-L) -66 Classes - 8 Spells (M-Q) -70 The Expert - 8 Spells (R-S) -75 The Hunter - 9 Spells (T-U) -81 The Magician - 10 Spells (V-Z) -83 The Neanderthal- 12 Equipment – 13 Running the Game–85 Randomness –85 The Rules -15 Running Scenes -86 Attributes - 15 Running Campaigns –87 Flesh and Grit -15 Death and New Characters - 88 Healing,Time – 16 Doing Things - 16 When to require rolls - 16 Exploring Caves–90 Skill
    [Show full text]
  • Dr. Harlequin, Script
    DR. HARLEQUIN, Or, THE IMAGINARY AUTOPSY by Marco Luly characters Dottore, doctor in medicine Pantalone, his friend Laura, wife of Dottore Isabella, daughter of Dottore Colombina, servant in the house of Dottore Lelio, son of Pantalone Arlecchino, servant of Lelio Capitano, foreigner soldier Zanni, villain Hand Servant Prompter 0 Pre-Pre-Prologue Everyone ALL: warm-up improve, crossing SR // SL, never leaving Dottore alone. DOTTORE: 5 min. to places. ALL: Thank you five. (Dottore exits. HS. & P. enter ) HAND SERVANT Unbelievable. PROMPTER Ridiculous. HAND SERVANT Preposterous. PROMPTER Impossible. HAND SERVANT Orazio is an imbecile, how does he expect us to buy 11 costumes with a budget of $23 dollars. PROMPTER ( pulling a quarter from his pocket ) $23 and a quarter. HAND SERVANT You found a quarter? PROMPTER Yeah. HAND SERVANT Gimme that. PROMPTER With that little money, we could only rent them. HAND SERVANT Well at lest were set for tonight. PROMPTER What about tomorrow? HAND SERVANT I don’t know. PROMPTER Maybe they can do the show naked, we’ll sell more seats. HAND SERVANT I don’t know about that: have you seen the girls in the show? PROMPTER 11 costumes… HAND SERVANT …and on top of that… S & PROMPTER …A MONKEY! HAND SERVANT Where are we going to find a monkey? PROMPTER Maybe we can get one from ... HAND SERVANT Yeah, … is full of monkeys. PROMPTER Seriously, they raise our tuition, lower our budgets and don’t even have the decency to get us a healthy monkey. DOTTORE: Curtain in 1 min. HAND SERVANT Hey, we forgot the curtain.
    [Show full text]
  • Commedia Dell'arte, Theatre of the Professional
    STUDENT DAY EDUCATIONAL CREATIVITY CONTEST Commedia Dell’Arte was an early form of professional theatre, originating from Italy, that was popular in Europe from the 16th through the 18th century. Commedia is a form of theatre characterized by masked character "types" that represent fixed social types and stock characters, which are exaggerated forms of “real characters”, such as a know-it-all doctor, a greedy old man, or a perfect relationship. Traditional commedia Dell’Arte is not about realism or creating well-rounded, three-dimensional characters, so most of the roles only have a couple traits to them around which the whole personality is defined. They rarely ever have any complex or sympathetic reasons for their behavior, and anything they do or feel, they do or feel to extremes. Please find a list of characters on the back of this sheet for assistance in writing the essay/play. Elementary Grades 1 – 6: Identifying and Creating Characters Grades 1-3: 150—200 words & Grades 4-6: 350 words. Judged based upon creativity and originality Option I: Characters You Know: Commedia Dell’Arte characters commonly appear in media, including kids movies and books! Choose a character from your favorite book or movie, tell us about them. Which Commedia role do they fill? (For simplicity, younger students can equate characters to their simple counterpart, such as “Doctor”, “Maid”, “Captain”). Option II: Characters You Create: It’s fun to make up characters for your very own stories! Create your own character based on one of the roles listed, and write a short story involving them.
    [Show full text]
  • La Brea and Beyond: the Paleontology of Asphalt-Preserved Biotas
    La Brea and Beyond: The Paleontology of Asphalt-Preserved Biotas Edited by John M. Harris Natural History Museum of Los Angeles County Science Series 42 September 15, 2015 Cover Illustration: Pit 91 in 1915 An asphaltic bone mass in Pit 91 was discovered and exposed by the Los Angeles County Museum of History, Science and Art in the summer of 1915. The Los Angeles County Museum of Natural History resumed excavation at this site in 1969. Retrieval of the “microfossils” from the asphaltic matrix has yielded a wealth of insect, mollusk, and plant remains, more than doubling the number of species recovered by earlier excavations. Today, the current excavation site is 900 square feet in extent, yielding fossils that range in age from about 15,000 to about 42,000 radiocarbon years. Natural History Museum of Los Angeles County Archives, RLB 347. LA BREA AND BEYOND: THE PALEONTOLOGY OF ASPHALT-PRESERVED BIOTAS Edited By John M. Harris NO. 42 SCIENCE SERIES NATURAL HISTORY MUSEUM OF LOS ANGELES COUNTY SCIENTIFIC PUBLICATIONS COMMITTEE Luis M. Chiappe, Vice President for Research and Collections John M. Harris, Committee Chairman Joel W. Martin Gregory Pauly Christine Thacker Xiaoming Wang K. Victoria Brown, Managing Editor Go Online to www.nhm.org/scholarlypublications for open access to volumes of Science Series and Contributions in Science. Natural History Museum of Los Angeles County Los Angeles, California 90007 ISSN 1-891276-27-1 Published on September 15, 2015 Printed at Allen Press, Inc., Lawrence, Kansas PREFACE Rancho La Brea was a Mexican land grant Basin during the Late Pleistocene—sagebrush located to the west of El Pueblo de Nuestra scrub dotted with groves of oak and juniper with Sen˜ora la Reina de los A´ ngeles del Rı´ode riparian woodland along the major stream courses Porciu´ncula, now better known as downtown and with chaparral vegetation on the surrounding Los Angeles.
    [Show full text]
  • 1989 Vol13.Pdf
    •v ISSHJEFANCE FOH PHOGREi S VOLUME XIII PUBLISHER/EDITOR IN CHIEF Merle Hoffman MANAGING EDITOR Beverly Lowy ASSOCIATE EDITORS Eleanor J. Bader Phyllis Chesler ASSISTANT EDITOR Karen Aisenberg CONTRIBUTING EDITORS Irene D avail Roberta Kalechofsky Flo Kennedy Nancy Lloyd ART DIRECTORS Michael Dowdy Julia Gran ADVERTISING AND SALES DIRECTOR Carolyn Handel ON THE ISSUES: A feminist, humanist publication dedicated to promoting political action through awareness and One of the "Hysterical Housewives", education; working toward a global FEATURES Louise Geddings, blocks a truck from political consciousness; fostering a spirit of collective responsibility for positive SEXUAL MALPRACTICE: entering a landfill in Sumter County, SC, social change; eradicating racism, Therapists Who Seduce Their an area known for hazardous wastes. sexism, ageism, speciesism; and support- Patients ing the struggle of historically disenfran- by Fred Pelka HYSTERICAL HOUSEWIVES chised groups powerless to protect and Data indicate that six to 10 percent of (AND OTHER COURAGEOUS defend themselves. therapists sexually abuse their pa- WOMEN) by Karen Jan Stults UNSOLICITED MANUSCRIPTS tients. Experts consider this a conser- All unsolicited material will be read by the editors. For vative estimate 7 Grassroots organizers are fighting return, enclose self-addressed, stamped envelope with against toxic wastes in their commu- proper postage. Articles should be not less than 10 and not more than 15 double spaced, typewritten pages on STRANGER IN A nities... and they're winning the women's health, social or political issues by people with STRANGE LAND: battle 22 hands on experience in their fields. Professional papers are accepted. All editing decisions are at the discretion Attending a Right To Life of the editors.
    [Show full text]
  • ORLAN, RECLAIMING the GAZE Cerise Joelle Myers a Thesis
    BETWEEN THE FOLLY AND THE IMPOSSIBILITY OF SEEING: ORLAN, RECLAIMING THE GAZE Cerise Joelle Myers A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2006 Committee: Andrew E. Hershberger, Advisor Allie Terry ii ABSTRACT Andrew E. Hershberger, Advisor The female body is ubiquitous throughout Western art history, in various stages of dress and undress, and more often than not displayed in such a way as to bring pleasure to a male viewer. This male gaze objectifies women, projects standards of beauty and femininity and negates an individual identity by replacing it with its own assumptions. Though there have been female subjects throughout art history, by both male and female artists, who through posture, facial expression, or even textual communication have expressed recognition of and resistance to this gaze, it is the French artist Orlan who has provided one of its most striking and effective critiques. In her best-known and most controversial series, The Reincarnation of Saint Orlan, Orlan continued to explore themes present throughout her early performance and photographic work and evident in her subsequent Self Hybridations series, as, through plastic surgery, she appropriated the facial features of various Western art historical beauties. Orlan not only orchestrated the surgeries, designed the costumes and decorated the operating theater, but by undergoing only local, rather than general, anesthesia, was herself an active participant in the events, in the ambitious seventh surgery, entitled Omnipresence, even interacting with audience members around the world via live satellite feed.
    [Show full text]