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Books on the topic 'Gender subversion'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Butler, Judith. Gender trouble: Feminism and the subversion of identity. New York: Routledge, 1990.

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2

Weltman, Sharon Aronofsky. Ruskin's mythic queen: Gender subversion in Victorian culture. Athens, Ohio: Ohio University Press, 1998.

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3

Butler, Judith. Gender trouble: Feminism and the subversion of identity. New York: Routledge, 1999.

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4

Nussbaum, Martha Craven. Subversion and sympathy: Gender, law, and the British novel. New York: Oxford University Press, 2013.

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5

Kailer, Katja. Girlism: Feminismus zwischen Subversion und Ausverkauf. Berlin: Logos, 2002.

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6

Read my lips: Sexual subversion and the end of gender. Ithaca, NY: Firebrand Books, 1997.

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7

Lying bodies: Survival and subversion in the field of vision. New York: Peter Lang, 2008.

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8

Subversion, sexuality and the virtual self. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2015.

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9

Jeff, Johnson. William Inge and the subversion of gender: Rewriting stereotypes in the plays, novels, and screenplays. Jefferson, NC: McFarland & Co., 2004.

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10

William Inge and the subversion of gender: Rewriting stereotypes in the plays, novels, and screenplays. Jefferson, N.C: McFarland & Co., 2005.

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11

Representing medieval genders and sexualities in Europe: Construction, transformation, and subversion, 600-1530. Farnham, Surrey, England: Ashgate, 2011.

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12

Hand, Felicity. The subversion of class and gender roles in the novels of Lindsey Collen (1948- ), Mauritian social activist and writer. Lewiston, N.Y: Edwin Mellen Press, 2010.

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13

Suleiman, Susan Rubin. Subversive intent: Gender, politics, and the avant-garde. Cambridge, Mass: Harvard University Press, 2012.

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14

Subversive intent: Gender, politics, and the avant-garde. Cambridge, Mass: Harvard University Press, 1990.

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15

Suleiman, Susan Rubin. Subversive intent: Gender, politics, and the avant-garde. Cambridge, Mass: Harvard University Press, 1990.

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16

Rereading the Harlem renaissance: Race, class, and gender in the fiction of Jessie Fauset, Zora Neale Hurston, and Dorothy West. Westport, Conn: Greenwood Press, 2002.

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17

Hibberd, Lynne Alison. Who's cracking the whip?: Subversive representations of gender, domesticity and sexuality in three musicals of the 1950s. Birmingham: University of Birmingham, 2003.

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18

Lamerichs, Nicolle. Productive Fandom. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789089649386.

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To dismantle negative stereotypes of fans, this book offers a media ethnography of the digital culture, conventions, and urban spaces associated with fandoms, arguing that fandom is an area of productive, creative, and subversive value. By examining the fandoms of Sherlock, Glee, Firefly, and other popular television-based franchises, the author appeals to fans and scholars alike in her empirically grounded methodology and insightful analysis of production hierarchies, gender, sexuality, play, and affect.

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19

E, Blackmer Corinne, and Smith Patricia Juliana, eds. En travesti: Women, gender subversion, opera. New York: Columbia University Press, 1995.

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20

Gender Trouble: Feminism and the Subversion of Identity (Thinking Gender). Other, 1989.

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21

Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity (Thinking Gender). Routledge, 1989.

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22

1943-, Wilson Fiona, and Frederiksen Bodil Folke 1943-, eds. Ethnicity, gender, and the subversion of nationalism. London: F. Cass in association with the European Association of Development Research and Training Institutes (EADI), Geneva, 1995.

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23

Frederiksen, Bodil Folke. Ethnicity, Gender and the Subversion of Nationalism. Routledge, 2014. http://dx.doi.org/10.4324/9781315036229.

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24

Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. Routledge, 2006.

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25

Transgression and Subversion: Gender in the Picaresque Novel. Transcript Verlag, 2018.

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26

Brady, Mary T. Analytic Engagements with Adolescents: Sex, Gender, and Subversion. Taylor & Francis Group, 2018.

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27

Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. Taylor & Francis Group, 2015.

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28

Alexandrowicz, Conrad. Acting Queer: Gender Dissidence and the Subversion of Realism. Palgrave Macmillan, 2020.

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29

(Editor), Corinne E. Blackmer, and Patricia Juliana Smith (Editor), eds. En Travesti: Women, Gender Subversion, Opera (Between Men--Between Women). Columbia University Press, 1995.

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30

Gender Dance: Ironic Subversion in C. S. Lewis's Cosmic Trilogy. Lang Publishing, Incorporated, Peter, 2013.

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31

Raphael, Melissa. Gender. Edited by John Corrigan. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780195170214.003.0011.

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Social class or ethnicity in a given religion, as much as gender, can be the factor which inhibits or permits the release of religious emotion. Accordingly, whether or not women and men's emotional expression is either esteemed or denigrated by their religious communities is multiply determined. This essay argues that male-dominated religions tend to regulate, transcend, and thereby “masculinize” emotion by its accommodation in the sublime: in the narrative, ritual, dogmatic, and ethical scheme articulated by, and primarily for, men. Where emotion cannot be thus accommodated, male religious discourse often reduces “natural,”, “private” emotion to a function of sexual desire. This essay also discusses subversion, power, and female religious emotion. It concludes with a brief account of the religious feminist reclamation of the spiritually and politically transformative power of religious emotion.

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32

Havlioglu, Didem. Mihrî Hatun: Performance, Gender-Bending, and Subversion in Ottoman Intellectual History. Syracuse University Press, 2017.

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33

Mihrî Hatun: Performance, Gender-Bending, and Subversion in Ottoman Intellectual History. Syracuse University Press, 2017.

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34

Feminist Subversion and Complicity: Governmentalities and Gender Knowledge in South Asia. 'Zubaan Books, 2017.

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35

Control And Subversion: Gender Relations in Tajikistan (Anthropology, Culture and Society). Pluto Press, 2004.

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36

Harris, Colette. Control And Subversion: Gender Relations in Tajikistan (Anthropology, Culture and Society). Pluto Press, 2004.

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37

Islamic Interpretive Tradition and Gender Justice: Processes of Canonization, Subversion, and Change. McGill-Queen's University Press, 2020.

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38

Reda, Nevin, and Yasmin Amin. Islamic Interpretive Tradition and Gender Justice: Processes of Canonization, Subversion, and Change. McGill-Queen's University Press, 2020.

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39

Gender And Laughter Comic Affirmation And Subversion In Traditional And Modern Media. Rodopi, 2009.

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40

Theoretische Verkorperungen: Judith Butlers Feministische Subversion, der Theorie. P. Lang, 1998.

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41

More, Alison, and Elizabeth L'Estrange. Representing Medieval Genders and Sexualities in Europe: Construction, Transformation, and Subversion, 600-1530. Taylor & Francis Group, 2016.

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42

Roberts, Robin. Subversive Spirits. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496815569.001.0001.

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The supernatural remains extraordinarily popular in literature, television, and film. But one figure has remained in the shadow, the female ghost. Inherently liminal, often literally invisible, the female ghost has nevertheless appeared in all genres. Subversive Spirits presents a history of the figure in the United States and the United Kingdom from the 1920s to the present, focusing on the female ghost in heritage sites, theatre, Hollywood film, literature, and television in the United States and the United Kingdom. What holds these disparate female ghosts together is their uncanny ability to disrupt, illuminate, and challenge gendered assumptions and roles. As with other supernatural figures, the female ghost changes over time, especially responding to changes in gender roles. Comedic female ghosts in literature and film disrupt gender norms through humor (Topper and Blithe Spirit ). Terrifying and vengeful female ghosts in England and America draw on horror and death to present a challenge to restrictions on mothers (The Woman in Black and La Llorona). The female immigrant experience and the horrors of slavery provide the focus for ghosts who expose history’s silences (The Woman Warrior and Beloved ). Heritage sites use the female ghost as a friendly and inviting but structurally subordinated narrator (The Untold Story and The Ghost of the Castle ). In the twenty-first century, the female ghost expands her influence to become a mother and savior to all humanity (Being Human , U.K. and U.S.) Subversive Spirits brings this figure into the light, exploring her cultural significance in popular culture.

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43

Reinarz, Jonathan. Seduction and Subversion. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252034947.003.0005.

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This chapter details a variety of historical contexts where distinctions between masculine and feminine scents were less clear or only beginning to be outlined with clarity. The distinction between male and female scents emerges as a relatively recent invention in the long history of perfume. Only in the last couple of decades have perfumers attempted to reintroduce consumers to unisex, let alone queer, scents. Moreover, while in the last century the perfume industry may have employed disproportionate numbers of male scientists to improve rates of extraction and build global empires, the captains of this vast industry during periods of great expansion were just as often women. This chapter aims to address these and other aspects of smell culture and to broadly chart the overtly gendered olfactory landscape from ancient to modern times.

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44

Jay, Gregory S. Speaking of Abjection. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190687229.003.0007.

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The genre of the white liberal race novel was revived in 2009 by Stockett’s bestseller and its high-profile Hollywood film version. Much controversy broke out over the novel’s depiction of black maids in early 1960s Jackson, Mississippi, which was a center of Civil Rights activism and white backlash. Were these characters stereotypes or deconstructions of the “mammy” figure? The chapter demonstrates that the narrative sections told by the maids contain much subversion, and that even the white protagonist exhibits resistance to orthodox female gender norms. Understanding the novel also requires attention to its specific historical setting amidst the Civil Rights tumult in Mississippi and Alabama during the years in which the novel is set, including the attempt to integrate the universities in those two states and the assassination of Medgar Evers. These events belong to the theme of the necessity for change reiterated throughout the novel.

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45

Subversive women: Historical experiences of gender and resistance. London: Zed Books, 1995.

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46

Renate, Kroll, and Zimmermann Margarete, eds. Gender studies in den romanischen Literaturen: Revisionen, Subversionen. Frankfurt am Main: dipa-Verlag, 1999.

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47

Suleiman, Susan Rubin. Subversive Intent: Gender, Politics, and the Avant-Garde. Harvard University Press, 1992.

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48

Saskia, Wieringa, ed. Subversive women: Historical experiences of gender and resistance. New Delhi: Kali for Women, 1995.

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49

Miklitsch, Robert. The Woman on Pier 13. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040689.003.0002.

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Part one of this chapter examines the production history of The Woman on Pier 13 to highlight the ideological mutability of the film’s ostensible, “right-wing” agenda, one endorsed by RKO’s head of production at the time, Howard Hughes. Part two aims to counter the claim that the anticommunist noir is without aesthetic interest by proffering a close textual analysis of a number of noir sequences in The Woman on Pier 13. Part three argues that--as the film’s original title, I Married a Communist, indexes--the political discourse of anticommunism cannot be divorced from questions about genre (melodrama, film noir, gangster film) and from contemporary socio-cultural notions about marriage, notions which receive their most charged expression in the picture’s figuration of gender and sexuality, in particular femininity (the femme fatale), masculinity (the “bad boy”), and homosexuality (the queer “Commie”). Part four revisits the issue of form—here, mise-en-scène--by exploring issues of labor and union subversion via the role of the cargo-hook and Diego Rivera’s painting, The Flower Carrier (1935), in the film.

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50

Zambrana, Rocío. Colonial Debts. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478013198.

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With the largest municipal debt in US history and a major hurricane that destroyed much of the archipelago's infrastructure, Puerto Rico has emerged as a key site for the exploration of neoliberalism and disaster capitalism. In Colonial Debts Rocío Zambrana develops the concept of neoliberal coloniality in light of Puerto Rico's debt crisis. Drawing on decolonial thought and praxis, Zambrana shows how debt functions as an apparatus of predation that transforms how neoliberalism operates. Debt functions as a form of coloniality, intensifying race, gender, and class hierarchies in ways that strengthen the colonial relationship between Puerto Rico and the United States. Zambrana also examines the transformation of protest in Puerto Rico. From La Colectiva Feminista en Construcción's actions, long-standing land rescue/occupation in the territory, to the July 2019 protests that ousted former governor Ricardo “Ricky” Rosselló, protests pursue variations of decolonial praxis that subvert the positions of power that debt installs. As Zambrana demonstrates, debt reinstalls the colonial condition and adapts the racial/gender order essential to it, thereby emerging as a key site for political-economic subversion and social rearticulation.

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