Written Out: How Sexuality Is Used to Attack Women's Organizing
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State of the Art Volume 10 Issue 2 2017
PSYCHOLOGY IN RUSSIA: STATE OF THE ArT Volume 10 Issue 2 2017 Editorial 2 Special section PSYCHOLOGY OF SEXUAL AND GENDER IDENTITY The reliability and validity of a Russian version of the Lesbian Internalized Homophobia Scale 5 Horne Sh. G., Maroney M. R., Geiss M. L., Dunnavant B. R. Attitudes toward gay and lesbian individuals in Russia: An exploration of the interpersonal contact hypothesis and personality factors 21 Horne Sh. G., Maroney M. R., Zagryazhskaya E. A., Koven J. Striving for LGBTQ rights in Russian psychology and society: A personal narrative 35 Lunin I. I. Autobiographical memory in transsexual individuals who have undergone gender- affirming surgery: Vivid, self-focused, but not so happy childhood memories 42 Nourkova V. V., Ivanova A. A. Identity disclosure as a securityscape for LGBT people 63 Omurov N. Developing an affirmative position statement on sexual and gender diversity for psychology professionals in South Africa 87 Victor C. J., Nel J. A. Internalized homophobia in Russia 103 Yanykin A. A., Nasledov A. D. Gender-related individual differences Androgyny in dentists: The contribution of masculinity and femininity to mental health and well-being 117 Nikolaev E. L., Hartfelder D. V., Baranova E. A. Specifics of interpersonal trust among people with different gender identities 134 Zinchenko Yu. P., Zotova O. Yu., Tarasova L. V. Social psychology Psychological and legal aspects of the offensiveness of male and female cartoons and collages 149 Budyakova T. P. Changing the image of a conflict situation while training school students in mediation skills 165 Leonov N. I., Glavatskikh M. M. Psychological factors of social anxiety in Russian adolescents 179 Pavlova T. -
Archived News
Archived News 2013-2014 News articles from 2013-2014 Table of Contents Alumna Yoko Ono profiled in The Independent 7 Julianna Margulies ’89 featured in WebMD Politics faculty member Samuel Abrams weighs article ................................................................ 13 in on NYC mayoral race ..................................... 7 Former faculty member Eugene Louis Faccuito Joan Scott MS '78 named Chief of Genetic wins Bessie Award ........................................... 13 Services in the Health Resources and Services Kioka Williams '12 awarded Fulbright U.S. Administration .................................................... 7 Student Program scholarship............................ 14 Chicago mayor Rahm Emanuel ’81 appears on Author Allan Gurganus ’72 featured in The New The Late Show with David Letterman................. 7 Yorker ............................................................... 14 Adriana Baer '04 profiled in The New York Writing Institute faculty member Dan Zevin wins Times................................................................... 8 Thurber Prize.................................................... 14 Actress Elisabeth Röhm ’96 aims to bring greater Lama Fakih '04 of Human Rights Watch featured awareness to the importance of saving for in New York Times article on Syria .................. 14 college................................................................. 8 Physics faculty member Scott Calvin attends You Don't Need Feet to Dance film screening to Steampunk expo .............................................. -
Tiina Rosenberg
Don ’t be Quiet TIINA ROSENBERG , Don’ ,t be Quiet ESSAYS ON FEMINISM AND PERFORMANCE Don’t Be Quiet, Start a Riot! Essays on Feminism and Performance Tiina Rosenberg Published by Stockholm University Press Stockholm University SE-106 91 Stockholm, Sweden www.stockholmuniversitypress.se Text © Tiina Rosenberg 2016 License CC-BY ORCID: Tiina Rosenberg: 0000-0002-7012-2543 Supporting Agency (funding): The Swedish Research Council First published 2016 Cover Illustration: Le nozze di Figaro (W.A. Mozart). Johanna Rudström (Cherubino) and Susanna Stern (Countess Almaviva), Royal Opera, Stockholm, 2015. Photographer: Mats Bäcker. Cover designed by Karl Edqvist, SUP Stockholm Studies in Culture and Aesthetics (Online) ISSN: 2002-3227 ISBN (Paperback): 978-91-7635-023-2 ISBN (PDF): 978-91-7635-020-1 ISBN (EPUB): 978-91-7635-021-8 ISBN (Kindle): 978-91-7635-022-5 DOI: http://dx.doi.org/10.16993/baf This work is licensed under the Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit creativecommons.org/licenses/ by/4.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. This license allows for copying any part of the work for personal and commercial use, providing author attribution is clearly stated. Suggested citation: Rosenberg, Tiina 2016 Don’t Be Quiet, Start a Riot! Essays on Feminism and Performance. Stockholm: Stockholm University Press. DOI: http://dx.doi. org/10.16993/baf. License CC-BY 4.0 To read the free, open access version of this book online, visit http://dx.doi.org/10.16993/baf or scan this QR code with your mobile device. -
Masculinity in Emo Music a Thesis Submitted to the Faculty of Arts and Social Science in Candi
CARLETON UNIVERSITY FLUID BODIES: MASCULINITY IN EMO MUSIC A THESIS SUBMITTED TO THE FACULTY OF ARTS AND SOCIAL SCIENCE IN CANDIDACY FOR THE DEGREE OF MASTER OF ARTS DEPARTMENT OF MUSIC BY RYAN MACK OTTAWA, ONTARIO MAY 2014 ABSTRACT Emo is a genre of music that typically involves male performers, which evolved out of the punk and hardcore movements in Washington DC during the mid-80s. Scholarly literature on emo has explored its cultural and social contexts in relation to the “crisis” of masculinity—the challenging of the legitimacy of patriarchy through “alternative” forms of masculinity. This thesis builds upon this pioneering work but departs from its perpetuation of strict masculine binaries by conflating hegemonic and subordinate/alternative masculinities into a single subject position, which I call synergistic masculinity. In doing so, I use emo to explicate this vis-à-vis an intertextual analysis that explores the dominant themes in 1) lyrics; 2) the sites of vocal production (head, throat, chest) in conjunction with pitch and timbre; 3) the extensional and intensional intervallic relationships between notes and chords, and the use of dynamics in the musical syntax; 4) the use of public and private spaces, as well as the performative masculine body in music video. I posit that masculine emo performers dissolve these hierarchically organized masculinities, which allows for a deeper musical meaning and the extramusical signification of masculinity. Keywords: emo, synergistic masculinity, performativity, music video, masculinities, lyrics, vocal production, musical syntax, dynamics. ABSTRAIT Emo est un genre musical qui implique typiquement des musiciens de sexe masculine et qui est issu de movement punk et hardcore originaire de Washington DC durant les années 80. -
Human Rights Report 2019 International Human Rights Policy: Activities and Results
Human rights report 2019 International human rights policy: activities and results Human rights report 2019 | Human rights report 2019 | Human rights report 2019 | Human rights report 2019 | Human rights report 2019 | Human rights report 2019 | AccraVaticaanstadPortOfSpainHoustonPretoriaLaPazIstanboelBoedapestHamburgVancouverDhakaDubaiBangkokAnkaraAlgiersKhartoemDubaiKobeBrusselMexicoSt PetersburgParamariboAnkaraRabatBelgradoRabatAtheneHarareNewYorkAntwerpenBuenosBogotáKairoHarareLagosManaguaQuitoHamburgLagosColomboMexicoBr atislavaLusakaBangkokSarajevoDamascusHoustonBonnAnkaraBrusselDarEsSalaamKobeSofiaKoealaLoempoerWellingtonAlgiersAnkaraAbujaChicagoMuscatDakarSt ockholmKopenhagenCotonouBuenosAiresAddisAbebaLissabonParijsRabatDüsseldorfTokioLuxemburgMontevideoChicagoBagdadPortOfSpainBoekarestLuxemburgDak arHoustonAlmatyDubaiRomeBamakoBelgradoHamburgRomeDarEsSalaamSofiaDubaiColomboRabatAtheneDublinSydneyKobeBogotáPraagOuagadougouAlgiersKin gstonStPetersburgAmmanMilaanMexicoTeheranAbuDhabiFrankfurtAmMainBelgradoTorontoAddisAbebaAnkaraSarajevoPortOfSpainAiresStockholmAmsterdamAbeba TripoliLaPazKairoManaguaBagdadLosAngelesKievAnkaraColomboWarschauRomeBernKingstonLissabonBoedapestBoedapestNewYorkMaputoColomboNewYorkRiyad BamakoTelAvivKingstonMontevideoLaPazPraagDubaiWenenCotonouBerlijnLaPazDüsseldorfKampalaTeheranSeoelMontevideoBrasiliaPretoriaAnkaraBomaySofiaToro ntoRomeZagrebWashingtonAmmanAtheneLaPazMoskouAlgiersAbidjanParamariboMaputoManillaKinshasaBarcelonaCaracasManaguaBarcelonaLusakaAntwerpenSa oPauloBagdadLaPazParijsTorontoBrusselBerlijnPekingMontevideoAbuDhabiTelAvivLondenIstanboelAlmatyBangkokHelsinkiSanJoséParamariboAnkaraSaoPauloPretor -
Guidance for Football Governing Bodies on Lgbt Inclusion and the Prevention of Discrimination and Violence Impressum
PRIDE IN SPORT Preventing and fighting homophobic violence and discriminations in sport GUIDANCE FOR FOOTBALL GOVERNING BODIES ON LGBT INCLUSION AND THE PREVENTION OF DISCRIMINATION AND VIOLENCE IMPRESSUM Guidance for Football Governing Bodies on LGBT Inclusion and the Prevention of Discrimination and Violence Publisher and Copyright: European Gay & Lesbian Sport Federation (EGLSF) Author: Megan Worthing-Davies Contributor: Juliette Jacques Design: Jen Watts Design Printed: 2013 in Ljubljana, Slovenia 150 copies Funded by: European Commission ISBN: 978-90-820842-0-7 This publication is free of charge. Disclaimer: The content of this publication does not reflect the official opinion of the European Union. Responsibility for the information and views expressed therein lies entirely with the authors. The content of this publication may be freely reproduced and modified for non-commercial purposes under Creative Commons Licence Attribution- NonCommercial 3.0 Unported (acknowledging the author and listing the source). More information: www.prideinsport.info CONTENTS 1 WHAT ARE THE ISSUES? (6) • What do the terms lesbian, gay, bisexual and trans or transgender mean? (7) • How many people are lesbian, gay, bisexual or transgender (LGBT)? (7) • What is homophobia, lesbophobia, biphobia and transphobia? (8) • How does discrimination affect LGBT people and their participation in sport? (9) • A framework for addressing homophobia, lesbophobia, biphobia and transphobia in football (11) 2 TAKING ACTION (20) • A framework for addressing homophobia, -
Cartographies of Differences: Interdisciplinary Perspectives
New Visions Cartographies of Differences of the Cosmopolitan This volume investigates the process of learning how to live with individual and group differences in the twenty-first century and examines the ambivalences of contemporary cosmopolitanism. Engaging with the concept of ‘critical cartography’, it emphasizes the structural impact of localities on the experiences of those living with difference, while trying to develop an account of the counter-mappings that follow spatial and social transformations in today’s world. The contributors focus on visual, normative and cultural embodiments of difference, examining dynamic conflicts at local sites that are connected by the processes of Europeanization and globalization. The collection explores a wide range of topics, including conflicting claims of sexual minorities and conservative Christians, the relationship between national identity and cosmopolitanism, and the ways that cross-cultural communication and bilingualism can help us to understand the complex (eds) and Gill Valentine Ulrike M. Vieten nature of belonging. The authors come from a variety of disciplinary backgrounds and all contribute to a vernacular reading of cosmopolitanism and transnationalism, aimed at opening up new avenues of research into living with difference. Ulrike M. Vieten is a Queen’s Research Fellow at the Institute for the Study Cartographies of Differences of Conflict Transformation and Social Justice at Queen’s University Belfast. Her research deals with the (de-)construction of racialized, classed and gendered boundaries in the context of cosmopolitanism, nationalism and citizenship Interdisciplinary Perspectives and currently focuses on right-wing populism in Europe and beyond. Her publications include Gender and Cosmopolitanism in Europe: A Feminist Perspective (2012) and Revisiting Iris Marion Young on Normalisation, Inclusion and Democracy (2014). -
CCGSD Queer Vocabulary
CCGSD Queer Vocabulary Note about Terminology It is important to acknowledge that due to the evolving nature of language and the personal meanings attributed by groups and individuals, these definitions are not rigid - they are mutable and ever changing, much like our community itself. When referring to an individual’s identity, the words and definitions that they use to describe themselves overrule and supercede the definitions in this glossary. AGENDER (adjective) A term meaning “without gender,” people who are agender do not identify anywhere on the gender spectrum, but rather see their gender as non existent.1 ALLOSEXUAL (adjective) A word to describe those who are not on the asexual spectrum. Other terms for this include zedsexual, zsexual, or non-ace, which are less sexological in nature.2 ANDROGYNOUS (adjective) Identity or umbrella term for a kind of non-binary gender implying some combination of conventionally masculine and feminine aspects.3 AROMANTIC (adjective) A term used to describe those who do not experience romantic attraction.4 ASEXUAL (adjective) A term used to describe a person who either: 1. Does not experience sexual attraction 2. Does not experience a desire for sex, or 3. Experiences these to a lesser degree than most 5 ASSIGNED SEX (noun) Assigned sex is the classification of a person as male, female or intersex based on biological characteristics, including chromosomes, hormones, external genitalia and reproductive organs, often at birth. We say assigned sex versus biological sex to acknowledge that sex is often a value assigned by medical professionals to newborns based on visual assessment of external genitalia. -
“Grisley L Business”
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Loughborough University Institutional Repository 10 ‘Grisley “L” business’1? Re-Valuing Female Masculinity and Butch Subjectivity in Tipping the Velvet and The Night Watch Claire O’Callaghan According to the lesbian cultural critic Emma Healey, the figure of the butch lesbian not only carries ‘the weight of nearly one hundred years of stereotyping on her shoulders’, but suffers homophobic ‘scorn and ridicule’ from heterosexist culture as well as ‘internalised lesbophobia’ within lesbian communities.2 As Gayle Rubin indicates, the term ‘butch’ is ‘the lesbian vernacular for women who are more comfortable with masculine gender codes, styles or identities than with feminine ones’ and ‘encompasses a variety of ways of and motivations for using masculine gender codes and preferences’.3 Butchness exists, therefore, as Jack Halberstam points out, on a varied continuum of female masculinities that signify ‘differently gendered bodies’ and female subjectivities.4 Boyish, masculine and/or butch women feature in nearly all of Sarah Waters’s novels. In Tipping the Velvet (1998), Nancy King’s foray into the world of music hall male impersonation and her investment in modes of female masculinity facilitate her discovery of lesbian desire and, as I will discuss later, are integral to her expression of gender and her sexual coming-of-age. Likewise, in Affinity (1999), domestic servant Ruth Vigers is able to pass as male spirit ‘Peter Quick’ in part because of her -
From Here to Queer: Radical Feminism, Postmodernism, and The
From Here to Queer: Radical Feminism, Postmodernism, and the Lesbian Menace (Or, Why Can't a Woman Be More like a Fag?) Author(s): Suzanna Danuta Walters Source: Signs, Vol. 21, No. 4, Feminist Theory and Practice (Summer, 1996), pp. 830-869 Published by: The University of Chicago Press Stable URL: http://www.jstor.org/stable/3175026 . Accessed: 24/06/2014 17:21 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The University of Chicago Press is collaborating with JSTOR to digitize, preserve and extend access to Signs. http://www.jstor.org This content downloaded from 199.79.170.81 on Tue, 24 Jun 2014 17:21:49 PM All use subject to JSTOR Terms and Conditions FromHere to Queer: Radical Feminism,Postmodernism, and the Lesbian Menace (Or, WhyCan't a Woman Be More Like a Fag?) Suzanna Danuta Walters Queer defined (NOT!) A LREADY, IN THIS OPENING, I am treadingon thin ice: how to definethat which exclaims-with postmodern cool-its absoluteundefinability? We maybe here(and we may be queer and not going shopping),but we are certainlynot transparentor easily available to anyone outside the realm of homo cognoscenti.Yet definitions,even of the tentativesort, are importantif we are to push forwardthis new discourseand debate meaningfullyits parameters. -
Literary Modernism, Queer Theory, and the Trans Feminine Allegory
UC Irvine FlashPoints Title The New Woman: Literary Modernism, Queer Theory, and the Trans Feminine Allegory Permalink https://escholarship.org/uc/item/11z5g0mz ISBN 978081013 5550 Author Heaney, Emma Publication Date 2017-08-01 Peer reviewed eScholarship.org Powered by the California Digital Library University of California The New Woman The FlashPoints series is devoted to books that consider literature beyond strictly national and disciplinary frameworks, and that are distinguished both by their historical grounding and by their theoretical and conceptual strength. Our books engage theory without losing touch with history and work historically without falling into uncritical positivism. FlashPoints aims for a broad audience within the humanities and the social sciences concerned with moments of cultural emergence and transformation. In a Benjaminian mode, FlashPoints is interested in how liter- ature contributes to forming new constellations of culture and history and in how such formations function critically and politically in the present. Series titles are available online at http://escholarship.org/uc/fl ashpoints. series editors: Ali Behdad (Comparative Literature and English, UCLA), Edi- tor Emeritus; Judith Butler (Rhetoric and Comparative Literature, UC Berkeley), Editor Emerita; Michelle Clayton (Hispanic Studies and Comparative Literature, Brown University); Edward Dimendberg (Film and Media Studies, Visual Studies, and European Languages and Studies, UC Irvine), Founding Editor; Catherine Gallagher (English, UC Berkeley), Editor Emerita; Nouri Gana (Comparative Lit- erature and Near Eastern Languages and Cultures, UCLA); Susan Gillman (Lit- erature, UC Santa Cruz), Coordinator; Jody Greene (Literature, UC Santa Cruz); Richard Terdiman (Literature, UC Santa Cruz), Founding Editor A complete list of titles begins on p. -
Femalemasculi Ni Ty
FEMALE MASCULINITY © 1998 Duke University Press All rights reserved Printed in the United States of America on acid-free paper oo Designed by Amy Ruth Buchanan Frontispiece: Sadie Lee, Raging Bull (1994) Typeset in Scala by Tseng Information Systems, Inc. Library of Congress Cataloging-in-Publication Data appear on the last printed page of this book. FOR GAYAT RI CONTENTS Illustrations ix Preface xi 1 An Introduction to Female Masculinity: Masculinity without Men r 2 Perverse Presentism: The Androgyne, the Tribade, the Female Husband, and Other Pre-Twentieth-Century Genders 45 3 "A Writer of Misfits": John Radclyffe Hall and the Discourse of Inversion 7 5 4 Lesbian Masculinity: Even Stone Butches Get the Blues nr 5 Transgender Butch: Butch/FTM Border Wars and the Masculine Continuum 141 6 Looking Butch: A Rough Guide to Butches on Film 175 7 Drag Kings: Masculinity and Performance 231 viii · Contents 8 Raging Bull (Dyke): New Masculinities 267 Notes 279 Bibliography 307 Filmography 319 Index 323 IL LUSTRATIONS 1 Julie Harris as Frankie Addams and Ethel Waters as Bernice in The Member of the Wedding (1953) 7 2 Queen Latifahas Cleo in Set It Off(19 97) 30 3 Drag king Mo B. Dick 31 4 Peggy Shaw's publicity poster (1995) 31 5 "Ingin," fromthe series "Being and Having," by Catherine Opie (1991) 32 6 "Whitey," fromthe series "Being and Having," by Catherine Opie (1991) 33 7 "Mike and Sky," by Catherine Opie (1993) 34 8 "Jack's Back II," by Del Grace (1994) 36 9 "Jackie II," by Del Grace (1994) 37 10 "Dyke," by Catherine Opie (1992) 39 11 "Self-