Patricia Highsmith's Queer Disruption: Subverting Gay Tragedy in the 1950S
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I Non-Binary Speech, Race, and Non-Normative Gender
Non-binary speech, race, and non-normative gender: Sociolinguistic style beyond the binary Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Ariana June Steele, B.A. Linguistics Graduate Program The Ohio State University 2019 Thesis Committee: Kathryn Campbell-Kibler, Adviser Cynthia Clopper i Copyright by Ariana June Steele 2019 ii Abstract Non-binary speech is understudied in the realm of sociolinguistics. Previous studies on non- binary speech (Kirtley 2015; Gratton 2016; Jas 2018) suggest that non-binary speakers are able to make use of linguistic variables that have been tied to binary gender in novel ways, often dependent on social context and goals, though these studies are limited in scope, considering eight or feWer non-binary talkers in their studies. Research into sociolinguistic style (Eckert 2008; Campbell-Kibler 2011) emphasiZes the ways that multiple linguistic and extralinguistic variables can be employed simultaneously to construct coherent styles, leaving room for speaker race to be included in the stylistic context (Pharao et al. 2014). Zimman’s (2017) study on transmasculine speakers showed that speakers can employ binary gendered linguistic variables in speech styles to position themselves towards or against normative binary gender. The current study considers how tWenty non-binary speakers, stratified by sex assigned at birth and race, use /s/ and f0, variables which tied to gender in previous research, alongside clothing to construct non-binary gendered styles. Results further support that race is an important construct in understanding gendered speech, as Black non-binary speakers produce /s/ differently with respect to self-identified masculinity than do white non-binary speakers. -
Conflicts in Appraising Lesbian Pulp Novels Julie Botnick IS 438A
Pulp Frictions: Conflicts in Appraising Lesbian Pulp Novels Julie Botnick IS 438A: Seminar in Archival Appraisal June 14, 2018 Abstract The years between 1950 and 1965 were the “golden age” of lesbian pulp novels, which provided some of the only representations of lesbians in the mid-20th century. Thousands of these novels sit in plastic sleeves on shelves in special collections around the United States, val- ued for their evocative covers and campy marketing language. Devoid of accompanying docu- mentation which elaborates on the affective relationships lesbians had with these novels in their own time, the pulps are appraised for their value as visual objects rather than their role in peo- ple’s lives. The appraisal decisions made around these pulps are interdependent with irreversible decisions around access, exhibition, and preservation. I propose introducing affect as an appraisal criterion to build equitable collections which reflect full, holistic life experiences. This would do better justice to the women of the past who relied on these books for survival. !1 “Deep within me the joy spread… As my whole being convulsed in ecstasy I could feel Marilyn sharing my miracle.” From These Curious Pleasures by Sloan Britain, 1961 Lesbian pulp novels provided some of the only representations of lesbians in the mid-20th century. Cheaper than a pack of gum, these ephemeral novels were enjoyed in private and passed discreetly around, stuffed under mattresses, or tossed out with the trash. Today, thou- sands of these novels sit in plastic sleeves on shelves in special collections around the United States, valued for their evocative covers and campy marketing language. -
Equipo Crónica
Equipo Crónica Tomàs Llorens 1 This text is published under an international Attribution-NonCommercial-NoDerivs Creative Commons licence (BY-NC-ND), version 4.0. It may therefore be circulated, copied and reproduced (with no alteration to the contents), but for educational and research purposes only and always citing its author and provenance. It may not be used commercially. View the terms and conditions of this licence at http://creativecommons.org/licenses/by-ncnd/4.0/legalcode Using and copying images are prohibited unless expressly authorised by the owners of the photographs and/or copyright of the works. © of the texts: Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao © Equipo Crónica (Manuel Valdés), VEGAP, Bilbao, 2015 Photography credits © Archivo Fotográfico Museo de Arte Contemporáneo de Alicante, MACA: fig. 9 © Archivo Fotográfico Museo Nacional Centro de Arte Reina Sofía: figs. 11, 12 © Bilboko Arte Ederren Museoa-Museo de Bellas Artes de Bilbao: figs. 15, 20 © Colección Arango: fig. 18 © Colección Guillermo Caballero de Luján: figs. 4, 7, 10, 16 © Fundación “la Caixa”. Gasull fotografía: fig. 8 © Patrimonio histórico-artístico del Senado: fig. 19 © Stiftung Museum Kunstpalast - ARTOTHEK: fig. 14 Original text published in the catalogue Equipo Crónica held at the Bilbao Fine Arts Museum (10 February to 18 May 2015). Sponsored by: 2 1 Estampa Popular de Valencia and the beginnings of Equipo Crónica Founded in 1964, Equipo Crónica and Estampa Popular de Valencia presented themselves to the public as two branches of a single project. Essentially, however, they were two different, independent ones and either could have appeared and evolved without the other. -
Radicalizing Romance: Subculture, Sex, and Media at the Margins
RADICALIZING ROMANCE: SUBCULTURE, SEX, AND MEDIA AT THE MARGINS By ANDREA WOOD A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2008 1 © 2008 Andrea Wood 2 To my father—Paul Wood—for teaching me the value of independent thought, providing me with opportunities to see the world, and always encouraging me to pursue my dreams 3 ACKNOWLEDGMENTS I would like to thank Kim Emery, my dissertation supervisor, for her constant encouragement, constructive criticism, and availability throughout all stages of researching and writing this project. In addition, many thanks go to Kenneth Kidd and Trysh Travis for their willingness to ask me challenging questions about my work that helped me better conceptualize my purpose and aims. Finally, I would like to thank my friends and family who provided me with emotional and financial support at difficult stages in this process. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS ...............................................................................................................4 LIST OF FIGURES .........................................................................................................................7 ABSTRACT .....................................................................................................................................9 CHAPTER 1 INTRODUCTION ..................................................................................................................11 -
On the Rise and Decline of Wulitou 无厘头's Popularity in China
The Act of Seeing and the Narrative: On the Rise and Decline of Wulitou 无厘头’s Popularity in China Inaugural dissertation to complete the doctorate from the Faculty of Arts and Humanities of the University of Cologne in the subject Chinese Studies presented by Wen Zhang ACKNOWLEDGEMENTS My thanks go to my supervisors, Prof. Dr. Stefan Kramer, Prof. Dr. Weiping Huang, and Prof. Dr. Brigitte Weingart for their support and encouragement. Also to the Faculty of Arts and Humanities of the University of Cologne for providing me with the opportunity to undertake this research. Last but not least, I want to thank my friends Thorsten Krämer, James Pastouna and Hung-min Krämer for reviewing this dissertation and for their valuable comments. TABLE OF CONTENTS INTRODUCTION ...................................................................................................................................... 1 0.1 Wulitou as a Popular Style of Narrative in China ........................................................... 1 0.2 Story, Narrative and Schema ................................................................................................. 3 0.3 The Deconstruction of Schema in Wulitou Narratives ................................................... 5 0.4 The Act of Seeing and the Construction of Narrative .................................................... 7 0.5 The Rise of the Internet and Wulitou Narrative .............................................................. 8 0.6 Wulitou Narrative and Chinese Native Cultural Context .......................................... -
Katy Shannahan Edited
1 Katy Shannahan OUHJ 2013 Submission The Impact of Failed Lesbian Feminist Ideology and Rhetoric Lesbian feminism was a radical feminist separatist movement that developed during the early 1970s with the advent of the second wave of feminism. The politics of this movement called for feminist women to extract themselves from the oppressive system of male supremacy by means of severing all personal and economic relationships with men. Unlike other feminist separatist movements, the politics of lesbian feminism are unique in that their arguments for separatism are linked fundamentally to lesbian identification. Lesbian feminist theory intended to represent the most radical form of the idea that the personal is political by conceptualizing lesbianism as a political choice open to all women.1 At the heart of this solution was a fundamental critique of the institution of heterosexuality as a mechanism for maintaining masculine power. In choosing lesbianism, lesbian feminists asserted that a woman was able to both extricate herself entirely from the system of male supremacy and to fundamentally challenge the patriarchal organization of society.2 In this way they privileged lesbianism as the ultimate expression of feminist political identity because it served as a means of avoiding any personal collaboration with men, who were analyzed as solely male oppressors within the lesbian feminist framework. Political lesbianism as an organized movement within the larger history of mainstream feminism was somewhat short lived, although within its limited lifetime it did produce a large body of impassioned rhetoric to achieve a significant theoretical 1 Radicalesbians, “The Woman-Identified Woman,” (1971). 2 Charlotte Bunch, “Lesbians In Revolt,” The Furies (1972): 8. -
Beyond Trashiness: the Sexual Language of 1970S Feminist Fiction
Journal of International Women's Studies Volume 4 Issue 2 Harvesting our Strengths: Third Wave Article 2 Feminism and Women’s Studies Apr-2003 Beyond Trashiness: The exS ual Language of 1970s Feminist Fiction Meryl Altman Follow this and additional works at: http://vc.bridgew.edu/jiws Part of the Women's Studies Commons Recommended Citation Altman, Meryl (2003). Beyond Trashiness: The exS ual Language of 1970s Feminist Fiction. Journal of International Women's Studies, 4(2), 7-19. Available at: http://vc.bridgew.edu/jiws/vol4/iss2/2 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. This journal and its contents may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. ©2003 Journal of International Women’s Studies. Beyond Trashiness: The Sexual Language of 1970s Feminist Fiction By Meryl Altmani Abstract It is now commonplace to study the beginning of second wave US radical feminism as the history of a few important groups – mostly located in New York, Boston and Chicago – and the canon of a few influential polemical texts and anthologies. But how did feminism become a mass movement? To answer this question, we need to look also to popular mass-market forms that may have been less ideologically “pure” but that nonetheless carried the edge of feminist revolutionary thought into millions of homes. This article examines novels by Alix Kates Shulman, Marge Piercy and Erica Jong, all published in the early 1970s. -
Sexual Subversives Or Lonely Losers? Discourses of Resistance And
SEXUAL SUBVERSIVES OR LONELY LOSERS? DISCOURSES OF RESISTANCE AND CONTAINMENT IN WOMEN’S USE OF MALE HOMOEROTIC MEDIA by Nicole Susann Cormier Bachelor of Arts, Psychology, University of British Columbia: Okanagan, 2007 Master of Arts, Psychology, Ryerson University, 2010 A dissertation presented to Ryerson University In partial fulfillment of the requirements for the degree of Doctor of Philosophy In the program of Psychology Toronto, Ontario, Canada, 2019 © Nicole Cormier, 2019 AUTHOR’S DECLARATION FOR ELECTRONIC SUBMISSION OF A DISSERTATION I hereby declare that I am the sole author of this dissertation. This is a true copy of the dissertation, including any required final revisions, as accepted by my examiners. I authorize Ryerson University to lend this dissertation to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this dissertation by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my dissertation may be made electronically available to the public. ii Abstract Title: Sexual Subversives or Lonely Losers? Discourses of Resistance and Containment in Women’s Use of Male Homoerotic Media Doctor of Philosophy, 2019 Nicole Cormier, Clinical Psychology, Ryerson University Very little academic work to date has investigated women’s use of male homoerotic media (for notable exceptions, see Marks, 1996; McCutcheon & Bishop, 2015; Neville, 2015; Ramsay, 2017; Salmon & Symons, 2004). The purpose of this dissertation is to examine the potential role of male homoerotic media, including gay pornography, slash fiction, and Yaoi, in facilitating women’s sexual desire, fantasy, and subjectivity – and the ways in which this expansion is circumscribed by dominant discourses regulating women’s gendered and sexual subjectivities. -
Boys' Love, Cosplay, and Androgynous Idols
Feminist Encounters: A Journal of Critical Studies in Culture and Politics, 3(1-2), 19 ISSN: 2542-4920 Book Review Boys’ Love, Cosplay, and Androgynous Idols: Queer Fan Cultures in Mainland China, Hong Kong, and Taiwan Jenny Lin 1* Published: September 10, 2019 Edited By: Maud Lavin, Ling Yang, and Jing Jamie Zhao Publication Date: 2017 Publisher: Hong Kong: Hong Kong University Press, Queer Asia Series Price: HK $495 (Hong Kong, Macau, Mainland China, and Taiwan) US $60 (Other countries) Number of Pages: 292 pp. hardback. ISBN: 978-988-8390-9 If, like me, you were born before 1990 and are not immersed in online fan cultures, you may never have heard of the acronyms BL and GL that comprise the primary thrust of Boys’ Love, Cosplay, and Androgynous Idols: Queer Fan Cultures in Mainland China, Hong Kong, and Taiwan (hereafter Queer Fan Cultures). Fortunately, this captivating anthology’s editors Maud Lavin, Ling Yang, and Jing Jamie Zhao define ‘BL (Boys’ Love, a fan subculture narrating male homoeroticism)’ and ‘GL (Girls’ Love, a fan subculture narrating female homoeroticism)’ (p. xi) at the outset in the Introduction. Lavin, Yang, and Zhao expertly unpack and contextualise these and other terms that may be new to the less enlightened reader – ‘ACG (anime, comics, and games)’ (p. xii); ‘slash/femslash (fan writing practices that explore male/female homoerotic romances)’ (p. xiv); and Chinese slang ‘tongzhi (gay), guaitai (weirdo), ku’er (cool youth)’ (p. xix) – which reappear in fruitful discussions in the following chapters. I recently assigned Queer Fan Cultures in a seminar, and my millennial students, who enthusiastically devoured the book, already knew all about BL, GL, and ACG, as well as related concepts like “cosplay” (costume play, as when people dress like manga and anime characters) and “shipping,” which denotes when fans couple two seemingly heterosexual characters in a same-sex relationship. -
Sinister Wisdom 70.Pdf
Sinister Sinister Wisdom 70 Wisdom 70 30th Anniversary Celebration Spring 2007 $6$6 US US Publisher: Sinister Wisdom, Inc. Sinister Wisdom 70 Spring 2007 Submission Guidelines Editor: Fran Day Layout and Design: Kim P. Fusch Submissions: See page 152. Check our website at Production Assistant: Jan Shade www.sinisterwisdom.org for updates on upcoming issues. Please read the Board of Directors: Judith K. Witherow, Rose Provenzano, Joan Nestle, submission guidelines below before sending material. Susan Levinkind, Fran Day, Shaba Barnes. Submissions should be sent to the editor or guest editor of the issue. Every- Coordinator: Susan Levinkind thing else should be sent to Sinister Wisdom, POB 3252, Berkeley, CA 94703. Proofreaders: Fran Day and Sandy Tate. Web Design: Sue Lenaerts Submission Guidelines: Please read carefully. Mailing Crew for #68/69: Linda Bacci, Fran Day, Roxanna Fiamma, Submission may be in any style or form, or combination of forms. Casey Fisher, Susan Levinkind, Moire Martin, Stacee Shade, and Maximum submission: five poems, two short stories or essays, or one Sandy Tate. longer piece of up to 2500 words. We prefer that you send your work by Special thanks to: Roxanna Fiamma, Rose Provenzano, Chris Roerden, email in Word. If sent by mail, submissions must be mailed flat (not folded) Jan Shade and Jean Sirius. with your name and address on each page. We prefer you type your work Front Cover Art: “Sinister Wisdom” Photo by Tee A. Corinne (From but short legible handwritten pieces will be considered; tapes accepted the cover of Sinister Wisdom #3, 1977.) from print-impaired women. All work must be on white paper. -
The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices
Robert Phillip Kolker The Altering Eye Contemporary International Cinema To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/8 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. © 2009 Robert Phillip Kolker Some rights are reserved. This book is made available under the Cre- ative Commons Attribution-Non-Commercial 2.0 UK: England & Wales Licence. This licence allows for copying any part of the work for personal and non-commercial use, providing author -
Book Factsheet Patricia Highsmith Ripley Under Ground
Book factsheet Patricia Highsmith Crime fiction, General Fiction Ripley Under Ground 368 pages 11.6 × 18.4 cm January 1972 Published by Diogenes as Ripley Under Ground Original title: Ripley Under Ground World rights are handled by Diogenes Rights currently sold: Bulgarian (Fama) Chinese/CN (Shanghai Translation) Danish (Lindhardt & Ringhof) English/USA (Norton) Finnish (WSOY) French (Calmann-Lévy) Greek (Agra) Italian (La nave di Teseo) Japanese (Kawade Shobo) Korean (Eulyoo) Polish (Noir sur Blanc) Portuguese/BRA (Intrinseca) Portuguese/PT (Relógio d'Agua) Romanian (Art ) Russian (Azbooka-Atticus) Spanish/world (Anagrama) Swedish (Norstedts) Turkish (Can) Ukrainian (Hemiro) Vietnamese (BachvietBooks) Movie adaptations 2016: A Kind Of Murder Director: Andy Goddard Screenplay: Susan Boyd Cast: Patrick Wilson, Jessica Biel, Haley Bennett 2015: Carol / Salz und sein Preis Director: Todd Haynes Screenplay: Phyllis Nagy Cast: Cate Blanchett, Rooney Mara und Kyle Chandler 2014: The two faces of January Director: Hossein Amini Screenplay: Hossein Amini Cast: Kirsten Dunst, Viggo Mortensen, Oscar In this harrowing illumination of the psychotic mind, the enviable Isaac Tom Ripley has a lovely house in the French countryside, a beautiful and very rich wife, and an art collection worthy of a connoisseur. But 2009: Cry of the Owl such a gracious life has not come easily. One inopportune inquiry, Director: Jamie Thraves one inconvenient friend, and Ripley's world will come tumbling down Screenplay: Jamie Thraves - unless he takes decisive steps. In a mesmerizing novel that coolly Cast: Paddy Considine, Julia Stiles subverts all traditional notions of literary justice, Ripley enthralls us even as we watch him perform acts of pure and unspeakable evil.