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Journal articles on the topic 'Queer literary analysis'
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1
Murray, Sally Ann. "Queerying examples of contemporary South African short fiction." Journal of Commonwealth Literature 55, no. 1 (September 3, 2018): 77–95. http://dx.doi.org/10.1177/0021989418788909.
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With a view to imagining the forms and foci of something that might be persuaded to manifest as post-2000 “queer South African short fiction”, I queery the possibilities of queerness as category of analysis. Using a necessarily limited, illustrative selection of stories, I discuss aspects of queer in relation to such issues as generic scope, the erotic, futurity, and queerings of the canon. The approach inclines towards queer as a deliberately blurred lens, hoping to enable not precise sightlines but an obliqueness that, in conjunction with the identifier “South African”, brings into view partial glimpses of possibility for queer understandings of local short fiction. This investigation of relationality between queer as sexuality and queer as a more broadly disruptive optic is speculative, and necessarily imprecise. The method is appropriate to thinking queerly about how to disorientate local short stories in their encounters with forms of the normative.
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Wong, Alvin K. "Queer vernacularism: Minor transnationalism across Hong Kong and Singapore." Cultural Dynamics 32, no. 1-2 (January 20, 2020): 49–67. http://dx.doi.org/10.1177/0921374019900698.
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This essay explores the queer literary modernism of Hong Kong and Singapore since the 1990s to make several interventions. While the two cities have been studied as exemplars of postcolonial state formation in which finance capitalism contributes to the rise of modernity, their queer modernism in the literary and cultural spheres has largely escaped comparative studies. To address this blind spot, I examine two literary texts of gay male urbanism, namely Bryan Yip’s 2003 Hong Kong queer novel, Suddenly Single and Johann S. Lee’s 1992 coming-of-age queer Singaporean novel, Peculiar Chris, as cases of “queer vernacularism.” Specifically, Yip and Lee’s queer vernacular modernism—especially their references to Hong Kong and Singaporean popular culture, urban space, and soundscapes of modernity—altogether exceeds the familiar boundary of queer transnationalism and actualizes other modes of minor transnational desire. This essay concludes with a brief analysis of Yonfan’s 1995 Hong Kong film Bugis Street, which visualizes the bygone past of Singapore’s 1950–1970s sexual utopia and transgender imaginary.
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Bascom, Ben. "Groping Toward Perversion: From Queer Methods to Queer States in Recent Queer Criticism." American Literary History 32, no. 2 (2020): 396–404. http://dx.doi.org/10.1093/alh/ajaa007.
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Abstract What’s so queer about the nineteenth century? According to three recent studies of American literature—Elizabeth Freeman’s Beside You in Time (2019), Natasha Hurley’s Circulating Queerness (2018), and Benjamin Kahan’s The Book of Minor Perverts (2019)—the answer may be fairly all encompassing. For these critics, queerness is both an orientation and an object of study, enlivening, engendering, and uncovering a plethora of inchoate possibilities for imagining nonnormativity in the long nineteenth century. As such, these studies help resituate the critical capacity for queer studies to engage with historical material while also attending to the ephemeral possibilities that queerness, as a heuristic, frames, from being a methodology, a narrative trope, or a marker of excess that gets overpassed through dominant and emergent ideologies. Bringing together novels, plays, performances, short stories, and life narratives—along with compelling debates in the fields of queer studies—these books are sure to motivate continued work on the intersections of queerness, affect, and the literary while also plotting ways to consider how queerness disrupts and confirms the biopolitics of sex as a category of analysis.
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Andrews, Grant. "The emergence of black queer characters in three post-apartheid novels." Tydskrif vir Letterkunde 56, no. 2 (September 19, 2019): 1–9. http://dx.doi.org/10.17159/2309-9070/tvl.v.56i2.5843.
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Before the end of apartheid, queer lives were almost entirely unrepresented in public literary works in South Africa. Only after the fall of institutionalised apartheid could literature begin to look back at the role of queer people in the history of South Africa, and begin to acknowledge that queer people are a part of the fabric of South African society. A number of celebrated authors emerged who were exploring queer themes; however, most of these authors and the stories they told were from a white perspective, and black queer voices were still largely absent in literature, especially novels. This paper explores the limited number of black queer literary representations following the influential work of K. Sello Duiker. I explore the social dynamics that might have influenced the fact that so few examples of black queer characters currently exist in South African literature. Through an analysis of novels by Fred Khumalo, Zukiswa Wanner, and Chwayita Ngamlana, I show how black, queer characters in post-apartheid novels confront ideas of culture, race, and sexuality as they wrestle with their identities and with questions of belonging and visibility.
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Janechek, Jennifer. "Review of Sanchez, Deafening Modernism: Embodied Language and Visual Poetics in American Literature." Canadian Journal of Disability Studies 5, no. 3 (October 31, 2016): 148. http://dx.doi.org/10.15353/cjds.v5i3.302.
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In Deafening Modernism: Embodied Language and Visual Poetics in American Literature, Rebecca Sanchez engages a range of methodologies—literary and historical analysis, linguistics, ethics, and queer, cultural, and film studies—to probe the relationship between images, bodies, and texts as revealed in canonical American modernist works.
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WALSH, FINTAN. "Performance and Queer Praxes: Recent Paradigmatic Shifts." Theatre Research International 36, no. 3 (August 30, 2011): 283–85. http://dx.doi.org/10.1017/s0307883311000538.
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Performance studies and queer studies are two of the most significant paradigmatic shifts to energize the analysis of Irish theatre and performance in very recent times. The development of these critical approaches can be seen to respond to the growth of more experimental, performance-centred methods of making and interpreting practice, and the emergence of a wide range of identities within theatre and performance sites, and the Irish social and cultural landscape more generally.
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Kim, Jina B. "Cripping the Welfare Queen." Social Text 39, no. 3 (September 1, 2021): 79–101. http://dx.doi.org/10.1215/01642472-9034390.
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Abstract Drawing together feminist- and queer-of-color critique with disability theory, this essay offers a literary-cultural reframing of the welfare queen in light of critical discourses of disability. It does so by taking up the discourse of dependency that casts racialized, low-income, and disabled populations as drains on the state, reframing this discourse as a potential site of coalition among antiracist, anticapitalist, and feminist disability politics. Whereas antiwelfare policy cast independence as a national ideal, this analysis of the welfare mother elaborates a version of disability and women-of-color feminism that not only takes dependency as a given but also mines the figure of the welfare mother for its transformative potential. To imagine the welfare mother as a site for reenvisioning dependency, this essay draws on the “ruptural possibilities” of minority literary texts, to use Roderick A. Ferguson’s coinage, and places Sapphire's 1996 novel Push in conversation with Jesmyn Ward's 2011 novel Salvage the Bones. Both novels depict young Black mothers grappling with the disabling context of public infrastructural abandonment, in which the basic support systems for maintaining life—schools, hospitals, social services—have become increasingly compromised. As such, these novels enable an elaboration of a critical disability politic centered on welfare queen mythology and its attendant structures of state neglect, one that overwrites the punitive logics of public resource distribution. This disability politic, which the author terms crip-of-color critique, foregrounds the utility of disability studies for feminist-of-color theories of gendered and sexual state regulation and ushers racialized reproduction and state violence to the forefront of disability analysis.
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Gombar, Zsofia. "A COMPARISON: TRANSLATED HOMOSEXUAL-THEMED NOVELS IN ESTADO NOVO PORTUGAL AND STATE-SOCIALIST HUNGARY." Via Atlântica, no. 33 (September 11, 2018): 187–205. http://dx.doi.org/10.11606/va.v0i33.141273.
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The present article aims to contribute to homosexual history by mapping queer literary translations in Estado Novo Portugal and Socialist Hungary. In view of the legal and censorial dissimilarities in the two countries with regard to same-sex activity, homosexual-themed literature translated from English has been examined in order to detect any possible divergence or convergence in this respect. The analysis also relied on book censorship files stored at the National Archives of the Torre do Tombo as well as the new findings of the Hungarian project English-Language Literature and Censorship, 1945—1989.
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Kidd, Kenneth. "Queer Theory's Child and Children's Literature Studies." PMLA/Publications of the Modern Language Association of America 126, no. 1 (January 2011): 182–88. http://dx.doi.org/10.1632/pmla.2011.126.1.182.
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In 2002 Karín Lesnik-Oberstein and Stephen Thomson published an essay entitled “what is queer theory doing with the child?,” addressing work in the 1990s by Michael Moon and the late, great Eve Kosofsky Sedgwick on the “protogay” child. Something inappropriate, even scandalous, was their answer, as one might surmise from the accusatory shape of the question. In their reading, Moon and Sedgwick essentialize rather than interrogate the protogay child, such that said child becomes “an anti-theoretical moment, resistant to analysis, itself the figure deployed as resistance” (36). For Lesnik-Oberstein and Thomson, queer theory is insufficiently alert to the lessons of poststructuralist theory and especially to the ongoing interrogation of “child” and “childhood.” Lesnik-Oberstein and Thomson specialize in childhood studies, and Lesnik-Oberstein is a well-known scholar of children's literature. Her 1994 Children's Literature: Criticism and the Fictional Child extends and takes inspiration from Jacqueline Rose's The Case of Peter Pan; or, The Impossibility of Children's Fiction (1984), which ushered into children's literature studies a powerful and lasting skepticism about “childhood” and “children's literature.”
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Zhang, Muren. "Awkward Encounters with Sarah Waters: Shame, Reading, and Queer Subjectivity." Contemporary Women's Writing 15, no. 1 (March 1, 2021): 72–89. http://dx.doi.org/10.1093/cww/vpab014.
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Abstract Focusing on Sarah Waters’s Tipping the Velvet (1998) and Affinity (1999), this article examines how the reader-pleasure afforded by contemporary reimaginings of Victorian lesbianism accommodates the complicated emotional response of shame. Through an investigation of how both texts relate queer experience to shame and what narrative strategies facilitate or induce shame in the reader during their reading experience, this article argues that Waters’s work invites a more sophisticated analysis of shame: one that relates to, and arguably reproduces, the empathetic engagement between the text and the reader. In so doing, this article demonstrates the importance of affect and narrative studies in unpacking the complicated reading pleasure afforded by Waters’s writings and its political potentials.
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Provencher, Denis M. "Stepping back from queer theory: Language, fieldwork and the everyday in sexuality studies in France." French Cultural Studies 25, no. 3-4 (August 2014): 408–17. http://dx.doi.org/10.1177/0957155814532201.
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In a 2012 special issue of French Cultural Studies, Didier Eribon urges French studies scholars to step back from critical theory, and in particular queer theory as it has emerged in cultural and literary studies. He is also particularly critical of a version of queer theory conjugated with psychoanalysis. For Eribon, cultural studies scholars and those working in sexuality studies should move away from the ‘master narrative’ of the family and (re)turn to the cultural, the social, the field and empirical evidence. Over the last 15 years, I have conducted fieldwork and ethnographic interviews with self-identified same-sex desiring men in France. Their life stories can be read at times through the Anglo-American lens of a gay-identified, Western coming-out narrative with a telos of ‘progress’ that involves moving from the closet to being ‘out’. At the same time, however, a queer linguistic approach can help us to read against the grain of several norms and hence provide us with a broader understanding of their lived experiences. In this essay, I present empirical language data from my interview with ‘Tahar’ one of my self-identified same-sex desiring Maghrebi and Maghrebi-French interlocutors to illustrate how his speech acts are situated at the crossroads of multiple discourses, temporalities, identities and traditions. As we shall see, Tahar’s story involves being ‘beur’, ‘being homosexual’ and ‘being fat’. This subject speaks back against the empire, against heteronormativity, and against corporeal norms. While a postcolonial critique based on a ‘postcolonial identity’ (looking at ethnicity or religion, for example) or a linguistic analysis based on ‘gay identity’ could be helpful here, my point is that a queer linguistic analysis – one that takes a position counter to the normative broadly defined by considering simultaneously multiple subaltern subject positions – could provide a better approach for those of us working in an interdisciplinary French cultural studies context.
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Fang, Jieling. "Functional Character in Fan Fiction: A Case Study of The Lord of the Rings’ Alternative Universe Fan Fiction For Every Evil." Studies in Linguistics and Literature 5, no. 1 (February 5, 2021): p70. http://dx.doi.org/10.22158/sll.v5n1p70.
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From Henry Jenkins onwards, fan fiction study has walked pass almost 30 years and has covered a relatively large field including feminism, queer theory and mass culture, but many scholars still seem to miss the point that fan fiction is firstly a literary text and thus leave its literariness unexamined. In fact, with a high intertextuality and a “poacher” nature, fan fiction can serve as an ideal text to narratology study. This paper, through conducting a case study of The Lord of the Rings’ alternative universe fan fiction For Every Evil, is attempting to unfold fan authors’ literary talent in constructing functional character in the text and use it as a way to deliver personal interpretation to the canon. By applying characters’ known behavior as a method to resolve instability in fan fiction narrative and complete its narrative progress, authors who write alternative universe fan fiction show that this kind of “amateur” writing is worth a closer literary review. It is hoped that through the analysis, the literary merit of fan community can be better recognized, and fan fiction can be treated more as a genre rather than a cultural phenomenon in the future.
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Dymock, Alex. "Anti-communal, Anti-egalitarian, Anti-nurturing, Anti-loving: Sex and the ‘Irredeemable’ in Andrea Dworkin and Catharine MacKinnon." Paragraph 41, no. 3 (November 2018): 349–63. http://dx.doi.org/10.3366/para.2018.0276.
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The work of Andrea Dworkin and Catharine A. MacKinnon on sex and sexuality has often been posed as adversary to the development of queer theory. Leo Bersani, in particular, is critical of the normative ambitions of their work, which he sees firstly as trying to ‘redeem’ sex acts themselves, and secondly as advocating for sexuality as a site of potential for social transformation. In this article, I argue that this is a misreading of their work. Drawing on Dworkin's wide body of writing, and MacKinnon early essays in Signs, I suggest that their work makes no such case for sex or sexuality. Rather, by bringing their analysis into conversation with Halberstam's recent work on ‘shadow feminism’, I contend that Dworkin and MacKinnon's antisocial, anti-pastoral and distinctly anti-normative vision of sex and sexuality shares many of the same features of queer theory, ultimately advocating for sex as ‘irredeemable’.
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Siepak, Julia. "Two-Spirit Identities in Canada: Mapping Sovereign Erotic in Joshua Whitehead’s Jonny Appleseed." Studia Anglica Posnaniensia 55, s2 (December 1, 2020): 495–515. http://dx.doi.org/10.2478/stap-2020-0024.
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Abstract In colonial times, mapping the New World functioned as an inherent mechanism of exerting colonial domination over Indigenous lands, enacting settler presence on these territories. While the colonial cartographies projected ownership, the non-normative mappings emerging from Aboriginal writing provide an alternative to settler Canadian geography. This article focuses on the imaginative geographies depicted in Joshua Whitehead’s Jonny Appleseed (2018), which recounts the story of a young Two-Spirit man who searches for his identity in-between the reserve and the city. The objective of the analysis is to tie the representation of the contemporary queer Indigenous condition with the alternative mappings emerging from Whitehead’s novel. In order to address the contemporary Two-Spirit condition in Canada, the article applies current theories proposed by the field of queer Indigenous studies, including the concept of sovereign erotic, which further allows the presentation of the potential of Two-Spirit bodies to transgress colonial cartographies.
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LaVigne, Michelle, and Megan V. Nicely. "Curating Dialogue: The Bridge Project’s Radical Movements." TDR/The Drama Review 62, no. 4 (December 2018): 145–53. http://dx.doi.org/10.1162/dram_a_00799.
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A renowned gender theorist and a female drag performer move language and gestures as they trade stories and share bodywork. A gender-ambiguous performer and a trans and queer scholar volley moments of physical intensity and textual analysis in a lecture-demonstration format. These were just some of the ways that the fall 2017 Bridge Project’s Radical Movements festival challenged performance models for dialogic exchange and what constitutes a radical body in motion.
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Fernández Hernández, Paula. "Escrituras del yo, escrituras de la nación: Facebook, literatura y activismo en Yolanda Arroyo Pizarro." Clepsydra. Revista de Estudios de Género y Teoría Feminista 21 (2021): 121–42. http://dx.doi.org/10.25145/j.clepsydra.2021.21.06.
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Yolanda Arroyo Pizarro is a renowned Puerto Rican writer and activist for LGBTI rights and Afro-Caribbean communities. Her literature focuses on the portrait of queer subjectivities and the celebration of Afro-American identity. In this paper, I connect the different arenas in which the author corroborates her political engagement in order to propose a new perspective on autobiography as a literary genre, including such a paradigmatic platform for self-representation as Facebook. This strategy, in turn, is coherent with the author’s proposal, since it is founded on the creation of a network of support for vulnerable communities and on the defense of a deep decolonization. Accordingly, the analysis and visibility of different ways to represent bodies and subjectivities converge in a study that, ultimately, questions the parameters in which writing, genre and nation are founded and interconnected.
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Doan, Laura. "Forgetting Sedgwick." PMLA/Publications of the Modern Language Association of America 125, no. 2 (March 2010): 370–73. http://dx.doi.org/10.1632/pmla.2010.125.2.370.
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Eve Kosofsky Sedgwick was not a historian of sexuality, but she was keenly aware of the historicity of sexuality and erotic desire in ways unlike other major figures in queer theory. This fact has gone largely unnoticed in queer studies, a field dominated by literary and cultural critics that has an uneasy relation with academic history. An example of the historicity of Sedgwick's theories of sexuality can be seen in her famous critique of Foucault's Great Paradigm Shift—that imaginary moment in the late nineteenth century when the category of the modern homosexual was thought to displace the category of the sodomite (Epistemology 44). The formulation of axiom 5 in Epistemology of the Closet—“the historical search for a Great Paradigm Shift may obscure the present conditions of sexual identity” (44)—reveals a deep consciousness of the “irreducible historicity of all things … discerning the time-and-place specificity of a thing, identifying the ways in which it relates to its context or milieu, and determining the extent to which it is both enabled and hamstrung by this relationship,” to cite the historian Hayden White's description of history as critique (224). If Foucauldian genealogy (or a “history of the present”) “begins with an analysis of blind spots in our current understanding, or with a problematization of what passes for ‘given’ in contemporary thought” (Halperin 13), it is vital, as Sedgwick puts it, to “denaturalize the present, rather than the past” (Epistemology 48). Sedgwick's vantage point on a queer past pivots around “homosexuality as we conceive of it today” (45), a phrase as resonant now in sexuality studies as was Foucault's reference to the homosexual as a species (Foucault 43). So entrenched are the modern categories of identity that Sedgwick repeats the phrase over and over in her cogent analysis of our current conceptions of sexuality. Such insistent differentiation between an alien past and an equally—if not more—alien present, the distinction between “them” and “us,” reverberates across the history of homosexuality. Consider, for instance, Matt Houlbrook's discussion of men who refrain from using “‘gay’ in the way we would use the term today” (xiii) or Jonathan Ned Katz's understanding of the presentness of our present standpoint—“what we today recognize as erotic feelings and acts” (6).
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Milewski, Jarosław. "Masculinities, History and Cultural Space: Queer Emancipative Thought in Jamie O’Neill’s At Swim, Two Boys." Text Matters, no. 8 (October 24, 2018): 55–67. http://dx.doi.org/10.1515/texmat-2018-0004.
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At Swim, Two Boys, a 2001 novel by Jamie O’Neill, tells a story of gay teen romance in the wake of the Easter Rising. This paper considers the ways in which the characters engage in patterns of masculine behaviour in a context that excludes queer men, and the rhetorical effect of transgressive strategies to form a coherent identity. These patterns include involvement with the masculine and heteronormative nationalist movement, as well as a regime of physical exercise, and a religious upbringing in 20th-century Ireland. The strategies of broadening the practices of masculinity include their renegotiation and redefinition, as well as attempts to (re)construct the Irish and the gay canons of history and literature. These strategies, as exemplified by character development, become a rhetorical basis for the novel’s main argument for inclusiveness. This analysis deals with the central metaphors of space and continuity in the novel in the light of a struggle between identities. It also observes the tradition of parallels drawn between the emasculated position of the gay man and the Irish man at the beginning of the 20th century, and O’Neill’s rhetorical deployment of the shared telos in construction of a coherent gay Irish revolutionary identity.
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Emanuel, Sarah. "Letting judges breathe: Queer survivance in the book of Judges and Gad Beck’s An Underground Life: Memoirs of a Gay Jew in Nazi Berlin." Journal for the Study of the Old Testament 44, no. 3 (December 27, 2019): 394–419. http://dx.doi.org/10.1177/0309089219862812.
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Scholars typically describe the book of Judges as encompassing a cyclical transgress–suffer–prosper–transgress–again trope. Although Israelite peace and autonomy are maintained at various moments throughout the text, hardship inevitably ensues, leading exegetes to focus on the Israelites’ repeated demise as opposed to their continual triumphs. As David Gunn notes, ‘reward and punishment is often viewed as the book’s dominant theme’. Or, in the words of Danna Nolan Fewell, the stories within Judges are frequently read as a collective ‘downward spiral for Israel and its leaders’. I question, however, whether such thematic analysis might prove insufficient when engaging a hermeneutic of trauma and survival—or queer survivance, as we will see. Interestingly, of the 400-year period covered in the book of Judges, only 111 of them are spent in subjugation. Nearly three-fourths of the time period covered by the book, in other words, recounts times of judgeship and autonomy. Might this story be less about cultural transgression and more about the creative ways in which the Israelites managed to endure? In this article, I will provide an intertextual comparison of the Judges cycle with the memoir of Holocaust survivor, Gad Beck. In doing so, I will suggest that Judges offers us a literary representation of an ancient culture’s fight to persist. Rather than guide readers through the entirety of the Judges narrative, however, I will focus on Judges 3 and 4, as the stories of and events surrounding Ehud and Jael offer a more concentrated instance of the aforementioned cyclical trope. From a stance of hetero-suspicion and with a theoretical view to intertextuality and queer survivance, I will argue that, like Beck, Ehud and Jael subvert oppressive power structures through gender-bending performances and the embodiment of ambivalent, and even comedic, identity markers. Taking such similarities into consideration, I will then suggest that Ehud’s and Jael’s queer-comic consciousness becomes another thematic trope within the book of Judges as a whole. Yet instead of focusing on the repetition of the Israelites’ self-fulfilling demise, this trope spotlights the creative ways in which the Judges narrative becomes one of survival and reflects an ancient culture’s will to resist, persist, and indeed, live.
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Alam, Md. "Continuous Relevance to ‘Unspeakable Wrongness’ in Orwell’s A Hanging: A Transitivity Analysis." Advances in Social Sciences Research Journal 7, no. 1 (February 4, 2020): 492–518. http://dx.doi.org/10.14738/assrj.71.7708.
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This paper is an interdisciplinary study of Orwell’s queer-literary genre piece i.e. “A Hanging” with an insight into the “unspeakable wrongness” across that 1931short story / essay by the application of Halliday’s linguistic tool of “Transitivity”. The functional linguistic theory of transitivity is very instrumental in exploring “ideational meaning” about the “on-goings” of characters’ material and mental world as expressed and documented in literature. Albeit comparatively less noticed, Orwell’s “A Hanging” is a superb experiential documentation of his intolerance and disapproval of all unspeakable wrongness in all forms found in “colonialism”, “imperialism”, and “capital punishment”, discovery of all of which through the story has an extended significance and current century relevance. The study comes up with a convincing “cosmopolitan call” for the abolishment of capital punishment. Orwell goes as a narrator mentally aloof from his imperialist fellows and stands as one “odd out” with a deciphered “anti-imperialistic” impulse inside him which marks out colonialism as the very wrong “metamorphosing” power that is in itself demoralizing and makes it a huge impossibility of “equity” among universal humanity. Orwell ended up with a “Geliliolic discovery” of imperialism paving the way of only “oppression and deprivation” of the colonized and injecting a “generic moral decay” inside them; so Orwell cuts his professional “cohortship” with this giant, wrong, inhuman system that practices far-fetched, unconvincing “power imbalance” on earth by taking away the powerless races’ “freedom of speech”, and that bursts into a large scale of “moral decay” and “hollowness” of human hearts.
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Chatziprokopiou, Marios. "Queering the archive of Greek laments." Journal of Greek Media & Culture 4, no. 2 (October 1, 2018): 223–38. http://dx.doi.org/10.1386/jgmc.4.2.223_1.
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Lament in Greece has been historically linked to notions of cultural continuity and national belonging. As a literary genre or mode of performance, but also as a rhetorical trope, it has had a constitutive role in shaping national identity. Within this ideological context, Greek laments were strategically used by nineteenth- and early twentieth-century folklorists as survivals of an uninterrupted oral tradition, and hence as original proofs of continuity between modern Greeks and their supposed ancestors. Yet, the archives of oral poetry in general were extensively edited – but also partially constructed – by early folklorists in order to serve ideological purposes related to the construction of national identity, and to the promotion of the nation’s image according to Western European notions of Hellenism. Furthermore, it was not unusual for these scholars to create themselves quasi-demotic songs, in the manner and style of oral tradition. This was the case, for instance, of Georgios Tertsetis, whose quasi-demotic song ‘The Fair Retribution’ (H Δικαία Eκδίκησις) raises issues regarding desire between men, but also upon the impossibility of the subjects of such a desire to be mourned and lamented. Departing from an analysis of ‘The Fair Retribution’, and after offering a selective overview of the discourses of early folklorists regarding the use of Greek laments in the nationalist project, this article proceeds with a self-reflexive account of my lecture-performance Poustia kai Ololygmos: Selections from the Occult Songs of the Greek People. Enacting a pseudo-scientific persona, in this performance I announced the fictive discovery of an archive of Greek laments, which addresses issues of queer mourning and desire, while also bringing to the fore the absence of lament when it comes to queer subjectivities, in the past, but also in the present.
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Manzo-Robledo, Francisco. "Erotismo y homofobia en "El Apando" (1969) de José Revueltas." Mexican Studies/Estudios Mexicanos 16, no. 2 (2000): 347–66. http://dx.doi.org/10.2307/1052201.
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In José Revueltas' novel El apando (1969), the possibility for transgression is greatly diminished by the system. In such circumstances, the only possibility of transgression by means of the body is through drug consumption and erotic acts. This article examines the lack of literary criticism regarding the erotic, the homoerotic and the expression of sexual desire, other than in the sense of the society's values. The notion of act-space, together with concepts from cultural and queer theory serve as a critical instrument for this analysis. This essay evaluates critically the narrative discourse, clearly tinted with homophobia and a patriarchal patronage incapable of dealing with the most intimate aspects of self-expression. Under the patriarchy, that self-expression is occluded and controlled by the same ideologies, which again, are signs of homophobia. / En la novela El apando (1969) de José Revueltas, la posibilidad de transgredir se reduce a base los parámetros impuestos por el sistema. Ante tal situación, la única posibilidad de transgredir corporalmente que permanece se presenta a través del consumo de droga y la expresión erótica. El presente ensayo examina por qué existe una carencia de crítica en relación al erotismo, al homoerotismo y a la expresión del deseo sexual si no se estudian estos tres puntos de interés exclusivamente a base de los valores sociales que imperan. Una lectura que va contracorriente, en combinación con la noción de acto-espacio, se integra a conceptos culturales y de teoría queer para forjar un instrumento de investigación. Este análisis evalúa críticamente el discurso narrativo que está teñido por sentimientos de homofobia que sustancian a un patriarcado incapaz de aceptar los aspectos más íntimos de la auto-expresión. Esta auto-expresión bajo el patriarcado se ve controlada y obstruida por las mismas ideologías que ejemplifican, una vez más, la homofobia dentro de dicho sistema.
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Peterson, Eric E. "Narrative Identity in a Solo Performance: Craig Gingrich-Philbrook’s “The First Time”." Narrative Inquiry 10, no. 1 (October 17, 2000): 229–51. http://dx.doi.org/10.1075/ni.10.1.17pet.
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In the solo performance of autobiographical narrative, the performer’s body is the primary site for the construction of narrative identity. Autobiographical performance emphasizes the tensions between conventionalized forms of representation and the contingent and relational forms of presentation. That is, presenting “a story about myself” both constitutes and performs identity in a narrative that represents this performative accomplishment as having already taken place. The tensions between the presentation and representation of narrative identity are productive opportunities for queer solo performers who seek to make visible and disrupt the power relations and structures of heterosexist discourse. Analysis of a solo performance, “The First Time” by Craig Gingrich-Philbrook, illustrates how the critical reiteration of conventions can be used to make explicit the operation of narrative identity.
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Rowlett, Benedict J. L. "Affect as narrative action in the Global South." Narrative Inquiry 28, no. 2 (October 19, 2018): 237–56. http://dx.doi.org/10.1075/ni.17062.row.
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Abstract This paper focuses on the performance of small stories from two Cambodian men interviewed by the researcher about the relationships they form with men from the Global North. The analysis attends to the empirical significance of these performances by focusing on the mobilization of affect as an interactional linguistic and narrative resource that foregrounds social action in this context. In this way, these small stories reveal how these men may challenge and reshape dominant social discourses at this sexualised North/South interface. Bringing to the field of narrative inquiry approaches from queer linguistics, and Southern perspectives, this paper is therefore tasked with exploring what the field may potentially gain from these areas, especially regarding the theoretical and methodological possibilities of a North/South dialogue in the production of knowledge.
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Stokoe, Kayte. "Fucking the Body, Rewriting the Text: Proto-Queer Embodiment through Textual Drag in Virginia Woolf's Orlando (1928) and Monique Wittig's Le Corps lesbien (1973)." Paragraph 41, no. 3 (November 2018): 301–16. http://dx.doi.org/10.3366/para.2018.0273.
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Inspired by Judith Butler's conceptualization of drag as ‘gender parody’, I develop the conceptual frame of ‘textual drag’ in order to define and examine the relationship between parody, satire and gender. I test this frame by reading two seminal feminist works, Virginia Woolf's Orlando (1928) and Monique Wittig's Le Corps lesbien (The Lesbian Body) (1973). Both texts lend themselves particularly persuasively to analysis with this frame, as they each use parodic strategies to facilitate proto-queer satirical critiques of reductive gender norms. Orlando deploys an exaggerated nineteenth-century biographical style, which foregrounds the protagonist's gender fluidity and her developing critique of the norms and systems that surround her, while Le Corps lesbien rewrites canonical romance narratives from a lesbian perspective, challenging the heterosexism inherent in these narratives and providing new modes of thinking about gender, desire and sexual interaction.
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Chmurski, Mateusz. "Review Article: The Wedding Gown Writes Back. Borgos, Anna. 2013. Nemek között: Nőtörténet, szexualitástörténet ('Between the Sexes: Women's History, Sexuality History'). Budapest: Noran Libro Kiadó. 317 pp.; and Lovas, Ildikó. 2008. Spanyol menyasszony (‘The Spanish Bride’). Bratislava/Pozsony: Kalligram Kiadó. 304 pp." Hungarian Cultural Studies 8 (January 22, 2016): 97–104. http://dx.doi.org/10.5195/ahea.2015.210.
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In Central Europe nowadays universities, research institutes or museums are attempting to reconfigure the region's complex history from the perspectives of formerly forgotten or marginal/ized individuals and groups. Besides initiatives such as the opening of the Museum of the History of Polish Jews in Warsaw, or of the Center for Queer Memory in Prague, new studies and literary works presently (re-)create narratives that challenge the generally accepted past. Two recently published Hungarian books, a novel and a study that partly deals with the novel, exemplify this revisionist tendency. Ildikó Lovas’ novel, Spanyol Menyasszony ['The Spanish Bride'] (2007), which questions the cult of Géza Csáth (1887-1919), the writer and psychoanalyst who was also a drug addict that murdered his wife, renders the fictional diary of Csáth's wife and victim, Olga Jonás (1884-1919); Anna Borgos’ study, Nemek között: Nőtörténet, szexualitástörténet ['Between the Sexes: Women’s History, Sexuality History'] (2013), examines the Csáth affair within an inclusive analysis of women’s positions, roles and sexuality in the Hungarian culture of the last century. In this article Chmurski traces the ways in which both authors reread the lives and tragic marriage of Csáth and Jonás.
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Carlisle, Vanessa. "“Sex Work Is Star Shaped”." South Atlantic Quarterly 120, no. 3 (July 1, 2021): 573–90. http://dx.doi.org/10.1215/00382876-9154927.
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This article interrogates the common sex worker rights’ slogan “sex work is real work,” a claim that yokes sex worker struggles to labor struggles worldwide. This article argues that US-based sex worker rights activism, which relies on the labor rights framework to confront stigma and criminalization, is unable to undo how racial capitalism constructs sex work as not a legitimate form of work. While labor protections are important, sex work offers opportunity for the development of antiwork potentials. Many people engaging in sexual performance or trading sex are already creating spaces where sex work itself exceeds analysis as a job. By foregrounding sex workers’ lived experiences and the theoretical moves of antiracist anticapitalism, antiwork politics, queer liberationists, and disability justice, this article locates sex workers at the nexus of important forms of subjugated knowledge crucial for undermining the criminalization of marginalized people.
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Draper, Jimmy, and Andrea M. McDonnell. "Fashioning Multiplatform Masculinities." Men and Masculinities 21, no. 5 (March 6, 2017): 645–64. http://dx.doi.org/10.1177/1097184x17696190.
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Scholarly interest in the potential of personal style blogging to intervene in fashion media’s gendered norms has focused on women and femininity. To assess the implications for men and masculinity, this article examines gay male bloggers’ self-representational practices. Through interviews and textual analysis, we find their uses of different digital platforms reproduce and confront the heteronormativity of men’s fashion media in ways that speak to their status as bloggers in the industry. Specifically, their desire to demonstrate recognizable forms of fashion expertise keeps their blogs disciplined by industry norms of masculinity even as the need to self-brand encourages queer self-expression across other social media. We thus argue the ways in which bloggers embrace platforms’ technological affordances to engage multiple audiences are central to theorizing how their labor produces different discourses and depictions of masculinity. This builds on arguments made by gender and sexuality scholars to explain the significance of gay men’s fashion.
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Kukka, Silja. ""Fandom's Pornographic Subset"." lambda nordica 26, no. 1 (July 5, 2021): 53–79. http://dx.doi.org/10.34041/ln.v26.721.
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This article draws on content analysis method research (n = 78) that looks at a specific subset of fan fiction: anonymous kink meme communities where mostly women request and write erotic or pornographic fan texts. Reporting on an online survey, this article discusses what kind of role kink meme communities play in the lives of the respondents, how kink meme stories are situated in the larger framework of pornography, and how the respondents view the stories that incorporate unsettling or taboo subjects, such as sexual abuse of children, rape, or incest. This article views kink meme communities as a special subset of fan fic- tion, and in the article kink meme writing is compared to other forms of female- centric erotica or pornography. The article outlines how kink meme communities, like many other female-centric online communities, can function as places where women and gender minorities can write erotic material that better resonates
with them and discuss and explore their sexualities and sexual preferences. Kink meme communities are also shown to utilise queer female writing practices in how they discuss and broaden the cultural view on female sexuality and women’s enjoyment of pornographic material. In addition to this, kink memes are also shown to function as literary communities where some fans can practise their writing.
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Suchacka, Weronika. "‘Alimentary Assemblages’ at Intersections: Food, (Queer) Bodies, and Intersectionality in Marusya Bociurkiw’s Comfort Food for Breakups: The Memoir of a Hungry Girl (2007)." Studia Anglica Posnaniensia 55, s2 (December 1, 2020): 353–73. http://dx.doi.org/10.2478/stap-2020-0018.
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Abstract Clearly devoted to the analysis of various issues of belonging, the work of Marusya Bociurkiw, a Ukrainian-Canadian queer writer, director, academic, and activist, examines culture, memory, history, and subjectivity in a fascinatingly unique way. Such a thematic composition is, however, not the only aspect that visibly marks and unities Bociurkiw’s multi-generic oeuvre; what clearly stands out as yet another distinguishing characteristic that Bociurkiw’s works have in common is the idea that seems to stand behind their creation – an impelling notion that “[t]o have one’s belonging lodged in a metaphor is voluptuous intrigue” (Brand 2001: 18). Consequently, what Bociurkiw’s works vividly portray is the writing-self “in search of its most resonant metaphor” (Brand 2001: 19). In one of her works, Comfort Food for Breakups: The Memoir of a Hungry Girl (2007), this metaphor is food as the art of food-making and the act of eating become here a crucial background against which the issues of belonging are played out. The aim of this article is thus to show how Bociurkiw finds her way of discussing various aspects of subjectivity by means of writing about food, whether about preparing it, tasting it, or recollecting its preparation and tastes. Ultimately, however, the article is to prove that food in Bociurkiw’s memoir not only reflects identity but is presented as a vital site of intersectionality. Thus, embedded in intersectionality discourse, and particularly instructed by Vivian May’s Pursuing Intersectionality, Unsettling Dominant Imaginaries (2015), the analysis of Comfort Food for Breakups is carried out from an interdisciplinary perspective because it is simultaneously grounded in food studies theory, i.e., the ideas developed by Elspeth Probyn in Carnal Appetites: FoodSexIdentities (2000), confirming, in this way, that vital connections can and should be made between the two, ostensibly unrelated, fields of study.
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de Waal, Ariane. "More Future? Straight Ecologies in British Climate-Change Theatre." Journal of Contemporary Drama in English 9, no. 1 (May 1, 2021): 43–59. http://dx.doi.org/10.1515/jcde-2021-0003.
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Abstract Attempts to convey the urgency of the climate crisis often rely on the figure of the child. From Greta Thunberg via school-striking students to the grandchildren invoked in the titles of bestselling books about global warming, appearances of children seem especially effective in protesting the loss of a habitable planet. The iconic child that needs saving (or becomes the planet’s saviour) is equally prominent in British plays about climate change. Drawing on queer critiques of the conceptual short circuit between the child and the future, this article identifies two waves of UK eco-theatre: the first wave endorses hetero-nuclear family bonds and future-oriented thinking; the second wave traces alternative relations to nonhuman, ageing, or ailing Others in the present. The first part of the article revisits critiques of reproductive futurism; the second examines the straight ecologies that characterise the first wave of eco-theatre, based on a detailed analysis of Duncan Macmillan’s play Lungs (Studio Theatre, Washington, DC/Sheffield Crucible, 2011). The final part considers climate-change plays that sever reproductive timelines, as exemplified by Caryl Churchill’s Escaped Alone, Lucy Kirkwood’s The Children, and Stef Smith’s Human Animals (all Royal Court, 2016).
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Cepeda, María Elena. "Thrice Unseen, Forever on Borrowed Time." South Atlantic Quarterly 120, no. 2 (April 1, 2021): 301–20. http://dx.doi.org/10.1215/00382876-8916046.
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Designed to amplify and archive narratives frequently erased in official accounts of faculty life, this article centers a Latina feminist testimonio approach in its personal examination of mentally disabled faculty members and crip time, or the unique temporalities experienced by disabled individuals and the temporal strategies that they purposefully deploy. The analysis specifically focuses on mentally disabled faculty who are multiply marginalized, or those who often go “thrice unseen” within neoliberal US academia. It is framed throughout by a series of personal observations regarding the singular characteristics of crip time as it is lived by the author, herself a mentally disabled faculty member. Building on the scholarship of disability, queer, and ethnic studies scholars, it explores fraught concepts such as the pressure to pass for neurotypical, societal expectations regarding marriage and reproduction, academic collegiality, and the politics of workplace disclosure. The article closes with a consideration of crip time as pandemic time, as it ponders the distinct parallels between temporal existence during a pandemic and a life always lived through crip time, as well as the potential for reimaging time in a post-COVID world.
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Amor Barros-del Rio, Maria. "Emma Dononghue’s and James Finn Garner’s Rebellious Cinderellas: Feminism and Satire for Empowerment in Contemporary Fairy Tales." International Journal of Applied Linguistics and English Literature 7, no. 5 (September 1, 2018): 239. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.5p.239.
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The end of the 20th century witnessed a rewriting of traditional tales for children in English. In 1997, Irish writer Emma Donoghue published Kissing the Witch: Old Tales in New Skins, a sequence of re-imagined fairy tales that was shortlisted for the James L. Tiptree Award. In 1994, American writer James Finn Garner had also re-written many well-known stories for children and had them compiled in a single volume: Politically Correct Bedtime Stories. These new versions of Cinderella incorporate formal, structural and ideological alterations that subvert the traditional fairy tale genre. Using intersectionality as a theoretical research framework, the analysis of these works demonstrates that when the matrix of social power is dissected, the existing networks of oppression are exposed. While both versions are centred around gender, Donoghue and Garner employ different strategies, namely queer alliances and parodic scenes respectively, with the aim of overcoming the same structural obstacles. The resulting characters are rebellious and successful women who challenge tradition and open new horizons for female empowerment through the reinvention of the fairy tale genre.
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Cannamela, Danila. "“I am an atypical mother”: Motherhood and maternal language in Giovanna Cristina Vivinetto’s poetry." Forum Italicum: A Journal of Italian Studies 55, no. 1 (February 14, 2021): 85–108. http://dx.doi.org/10.1177/0014585821991848.
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In her debut book Dolore minimo, Giovanna Cristina Vivinetto engages in a reflection on motherhood to recount an autobiographical story of gender self-determination and male to female transition. This article explores Vivinetto’s poetry as the retelling of transformative moments in two mother–daughter relationships, which generate a reshaping of life and language. In the book, these two storylines intersect, blur, and even overlap, creating a poetic discourse in which the maternal acts simultaneously as powerful catalyzer and producer of meanings. In discussing how, in Dolore minimo, the relationship of two atypical mothers becomes the creative site of a new possible symbolic order, my analysis engages an atypical approach: it reads Vivinetto’s queer representation of motherhood via the theorization developed by the women of Diotima—including, in particular, Luisa Muraro, Chiara Zamboni, Diana Sartori, and Ida Dominijanni. These feminist thinkers have been generally criticized for reinforcing binary understandings of sex and gender, based on an essentialist view of the category of woman. Yet, what if the feminism forwarded by Diotima, by positioning the feminine as a creative producer and first-person narrator of change, could still offer a productive avenue for dialogue? The article begins with a discussion of Diotima’s key theorizations, which lays the groundwork for interpreting the maternal poetics of Dolore minimo. The subsequent sections examine in more depth how Vivinetto’s poetry has reinvented the figure of the mother as a teacher and learner of new words, and how, through this reinvention, she has crafted a maternal language that knits together new relations of contiguity and change. Ultimately, by redeploying the figure of the mother beyond cisgender norms, Vivinetto’s poetry is revealing the inexhaustible vitality of this character.
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Hann, Louisa. "‘If we Can’t Have a Conversation with our Past, then What will be Our Future?’: HIV/AIDS, Queer Generationalism, and Utopian Performatives in Matthew Lopez’s The Inheritance." English: Journal of the English Association 69, no. 265 (2020): 100–121. http://dx.doi.org/10.1093/english/efaa014.
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Abstract As the HIV/AIDS epidemic approaches its fifth decade, and emerging generations of queer-identified youth experience and conceptualize the virus in new ways, questions surrounding the memorialization and historicization of queer history have arisen within the arts. In the domain of theatre in particular, as mainstream revivals of crisis-era plays such as Larry Kramer’s The Normal Heart (1985) and Tony Kushner’s Angels in America (1991) proliferate, criticisms have arisen that such revivals feed into a narrative of the so-called ‘AIDS nostalgia’, pushing the idea that HIV/AIDS is a thing of the past and ignoring the ways in which the virus continues to shape individual social and sexual experiences. Recently, however, new plays such as Jonathan Harvey’s Canary (2010), the GHP Collective’s The Gay Heritage Project (2013), and Matthew Lopez’s The Inheritance (2018) have explicitly addressed this issue, conceptualizing a revised queer politics of HIV/AIDS that transcends Angels’ famous call for ‘The Great Work’ to begin. This article explores how The Inheritance in particular problematizes ‘AIDS nostalgia’ and configures novel approaches to the politics of HIV/AIDS in the twenty-first century. Alongside scholarship within the field of queer utopian studies such as José Estaban Muñoz’s Cruising Utopia (2009) and Jill Dolan’s Utopia in Performance (2005), it analyses the ways in which Lopez’s play employs utopian performatives to move towards a new politics of queer heritage.
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Berg, Margaret A. "Teens’ explorations of gender and sexual identities in conversations about/around preferred texts." Journal of Language and Sexuality 1, no. 1 (March 1, 2012): 15–34. http://dx.doi.org/10.1075/jls.1.1.02ber.
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This discourse analysis examines teens’ explorations of gender and sexual identities through their talk about their preferred texts accessed in the Young Adult section of a Midwestern public library. The discourse data collected over a two year period and analyzed using a recursive, ethnographic-style approach is informed by queer theory and New Literacy Studies. The practices of teens in the library complicate popular and scholarly discourse that constructs teens as peer-oriented, hormonally-controlled, and transitioning into adulthood. Their practices illustrate savvy, individual choices that allow teens to subvert the heterosexual norms of the adult controlled schools. The close connection between literacy choices and identity implies a need for educators to advocate for adolescents’ access to their preferred texts.
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Stover, Chris. "The Queer Rhythm of Cecil Taylor's ‘Enter Evening’." Deleuze and Guattari Studies 15, no. 3 (August 2021): 363–85. http://dx.doi.org/10.3366/dlgs.2021.0446.
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Cecil Taylor's Unit Structures (1966) is fundamentally a conjunctive, polyvocal expression: between music and text, composition and improvisation, individual expression and collective enunciation. This essay analyses aspects of Taylor's polyvocal expression as an ongoing series of productive assemblages that queer conventional notions of (musical) rhythm by reconsidering the very concept of rhythm in Deleuzo-Guattarian terms. In order to enact this move, I develop Deleuze and Guattari's concept of ‘supple segmentarity’ to theorise Taylor's propulsive, gestural language as a (queer) continuation of – rather than rupture within – the logic of elastic temporality that flows through many Afro-diasporic musical practices.
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Sabbagh, Omar. "History Free Indirect: Reading Creative Techniques in Lytton Strachey's Queen Victoria." Victoriographies 9, no. 1 (March 2019): 41–54. http://dx.doi.org/10.3366/vic.2019.0325.
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Situating itself in line with Max Saunders' thesis in Self Impression (2010), this paper is a literary-critical reconnaissance of the creative techniques Lytton Strachey employs in Queen Victoria (1921). My essay attempts to elicit the ways in which Strachey executes his modernist argument, intended to debunk Victorian perspectives, via a canny mix of traditional and modernist techniques of narration, usually associated with fiction. Showing how – in the way of an impressionist historian – he both inhabits the frame of his narrative as well as directs its very framing, I discuss his use of free indirect style and cognate methods of characterisation. I also discuss his novelistic ‘rhythm’, as he negotiates between personal and particular histories and wider more universal history; his psychological and psychoanalytic resources for biographical insight; and formal features of his narrative that make use of choric and stage-like structuring, as well as meta-historical tropes of fate and destiny. Literary critical methods deployed by Strachey, precociously, in the arsenal of his method, at a time before such literary critical methods had been overtly established are also discussed in brief as signifying features of his innovation. This paper hopes to offer a concrete interpretation of Strachey's well-known candidacy as the father, or one of them, of the ‘new biography’. Being a concrete analysis of only one of Strachey's works, less examined than others, the paper claims only to put traditional notions of the new biography and of modernism under the lens of this one particular but signal work.
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Smeesters, Aline. "Le Genethliacon Jacobi Sexti Scotorum Regis de George Buchanan." Renaissance and Reformation 36, no. 4 (March 15, 2014): 101–44. http://dx.doi.org/10.33137/rr.v36i4.20984.
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The Latin genethliac poem celebrating the birth of James VI of Scotland is often recognised as one of the most significant poems by George Buchanan, but it has never been fully analysed so far. This paper ambitions to propose a global interpretation of the genethliac, taking into account its literary as well as political aspects. After replacing the poem in the historical context of the reign of Mary queen of Scots and in the literary tradition of the genethliac poetry, the analysis focuses on three striking features of the poem: the lack of the maiores thematic, the opening prophecy and the portrait of the good king. The article also touches the problem of the double redaction, and gives a first critical edition and complete French translation of the poem.
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Lavoie, Jean-Jacques. "Vin et bière en Proverbes 31,4–7." Studies in Religion/Sciences Religieuses 44, no. 1 (February 25, 2015): 33–54. http://dx.doi.org/10.1177/0008429815570516.
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The author offers a textual criticism and a structural and literary analysis of Pr 31:3–7. This triple inquiry has several purposes: to show that the prohibition found in verses 4–5 is not absolute and that the ethics promoted by the foreign queen are identical to the ethics of the God of Israel and of Judah; to emphasize that the recommendation in verses 6–7 is not intended to promote a puritan morality or pure cynicism. On the contrary, this recommendation has a therapeutic aim and reflects compassion for those who are dying.
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Bychkova, Olga Anatol'evna, and Aleksandra Valer'evna Nikitina. "Images of game and gamer in the space of literature and computer games." Человек и культура, no. 6 (June 2020): 69–80. http://dx.doi.org/10.25136/2409-8744.2020.6.34481.
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The subject of this research is the images of game and gamers. In the space of literary work, they are arrayed in metaphorical and often demonic raiment, receiving moral-ethical interpretation in one or another way. The problem of game and gamer in criticism was regarded by Y. Mann (“On the Concept of Game as a Literary Image”), V. V. Vinogradov (“Style of the Queen of Spades”), E. Dobin (“Ace and Queen”, A. Pushkin’s “The Queen of Spades”), R. Caillois (“Games and People”), British writer and researcher of online games R, Bartle, American scientist Nick Yee, and many others. However, juxtaposition of literature sources on the topic to the research in the field of computer games is conducted for the first time. The scientific novelty consists in the comprehensive examination of the psychological game of the gamer based on the material of Russian literature (A. S. Pushkin “The Queen of Spades”, V. V. Nabokov The Luzhin Defense”) , as well as the modern computer games practice, in which psychological type of the gamer found its realization and development in accordance with genre diversity. Even the Russian classical literature depict game as an autonomous space that encompasses the gamer, and often has devastating effect on their personality. The author also observes an important characterological trait of the gamer: the conceptual, “literal” perception of the world, which is based on the reception of visual images of the world against verbal. Therefore, the Russian literature alongside the research practice of modern videogames from different angles approach examination of the images of “game and gamer”, cognize the factors and consequences of the problems that emerge in this object field, as well as seek for their solution. The data acquired in the course of the conducted comparative analysis is mutually enriching.
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Pearce, Sarah. "THE CLEOPATRAS AND THE JEWS." Transactions of the Royal Historical Society 27 (November 1, 2017): 29–64. http://dx.doi.org/10.1017/s0080440117000032.
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ABSTRACTThis paper explores a variety of evidence for relations between Cleopatra VII, the last Ptolemaic ruler of Egypt, and her Jewish subjects. In the first part of the paper, the focus is on the profoundly negative portrait of the queen in the works of Josephus, with particular attention to Cleopatra's alleged antipathy to Alexandrian Jews in Josephus's Against Apion. Analysis of Josephus's evidence confirms, I argue, that his case against the queen does not stand up. The second part of the paper offers a detailed consideration of other evidence, epigraphic and literary, which, I suggest, confirms a picture of the queen as continuing the policy of her predecessors with regard to the Jews of the Ptolemaic kingdom, by participating in the long-established practice of extending royal support and protection to Jewish proseuchai (places of prayer). While the evidence does not permit definitive conclusions, it suggests that Cleopatra looked to particular Jewish groups – as to others – within Egypt for support and in this, followed a path taken by Cleopatra II and Cleopatra III. Finally, a few details in Plutarch's Life of Antony may also suggest the queen's political and personal alliances with individual Jews, in Egypt and Judea.
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Guénette, Marie-France. "Agency, Patronage and Power in Early Modern English Translation and Print Cultures: The Case of Thomas Hawkins." TTR 29, no. 2 (August 27, 2018): 155–76. http://dx.doi.org/10.7202/1051017ar.
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At the English court of Queen consort Henrietta Maria (1625-1642), translation was used as a political tool, partly to impose the queen’s linguistic, cultural and Catholic heritage on Calvinist England. The queen played a pivotal role as a patron of the arts and an agent of Anglo-French cultural relations, and many translators dedicated texts to her in the hopes of winning her favour. This article focuses on “translating agents” (Buzelin, 2005), i.e. translators, printers and patrons, operating in the political, religious and literary networks in and around the Queen’s court. My research draws on scholarship on the cultural and ideological aspects of translation in Stuart Court culture and builds on recent studies on the intersection between translation and print in early modern Europe. I study patterns of patronage, literary production, and text circulation; and I probe the political, social, religious, and print networks involved in the production of translations associated with the Queen’s court, and extending well beyond its social or geographical boundaries. I examine translations using digital catalogues (Early English Books Online,Renaissance Cultural Crossroads,Cultural Crosscurrents in Stuart and Commonwealth Britain), and conduct paratextual analyses of translations dedicated to Henrietta Maria. In this article, I study translator Thomas Hawkins by using data fromSix Degrees of Francis Baconand theOxford Dictionary of National Biography. Hawkins was a key translating agent who operated in transnational Catholic print networks and whose translations of Jesuit Nicolas Caussin’sLa Cour Saintefound their way into social and literary networks around the Queen’s court. I situate Hawkins in the political and ideological contexts of the time and show how he promoted Catholic devotional literature in his capacity as agent of translation, culture and ideology. Hawkins’s case illustrates how agency, patronage and power come together in early modern England’s culture of printed translations.
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Burke, Linda. "Alfred Thomas, Reading Women in Late Medieval Europe: Anne of Bohemia and Chaucer’s Female Audience. The New Middle Ages. New York: Palgrave Macmillan, 2015, 251 pp." Mediaevistik 31, no. 1 (January 1, 2018): 484–85. http://dx.doi.org/10.3726/med012018_484.
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Scholarly neglect of the English Queen Anne of Bohemia (1366–1394) has persisted as an island of unchallenged sexism and Anglophone provincialism almost up to the present day. Fortunately, this lacune has been addressed in recent years, especially by Thomas’s own Anne’s Bohemia: Czech Literature and Society, 1310–1420 (1998). His Reading Women is a rich and compelling addition to the author’s earlier work on the pan-European culture of Bohemia, especially as popularized in England by Richard II’s Queen Anne. It aims to provide an essential context for the works of Chaucer by elucidating Anne as educated reader and literary patron, in short, “the ideal embodiment of the European cosmopolitanism he wished to emulate” (10). Supporting this aim, as a tremendous value-added to the chapters of textual analysis, Thomas intercalates English translations of medieval works in Czech—such as the Life of St. Catherine and the satirical Wycliffite Woman—that may be otherwise difficult to access. These are presented as analogues, not necessarily sources, for their English counterparts.
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Pristovšek, Jovita. "Re/-Production: Identity, Queer, and Labor in the Work of Angela Mitropoulos." Identities: Journal for Politics, Gender and Culture 10, no. 1-2 (January 1, 2013): 20–28. http://dx.doi.org/10.51151/identities.v10i1-2.274.
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The following paper analyses the status of identity, queer, and labor in relation to re-/production, as shown in the recently published book by Angela Mitropoulos, entitled Contract and Contagion. From Biopolitics to Oikonomia (2012). The aim of this paper is to suggest that oikonomia, as elaborated by Mitropoulos, is a biopolitical heterosexual oikonomia, where we should emphasize its necropolitical intensification that reaches beyond the border of the biopolitical, meaning that it literally breeds death (necro), or in other words, the state reproduces itself by extracting the surplus value from death and war machines. The above transformation will be – in reference to the formulation of Marina Gržinić – called “necropolitical intensification of biopolitics” – while at the same time pointing also to two triads of reproduction of capital/sex/labor and race that are the one of necessity/contingency/value and the other of debt/risk/law of value. My intention is to show how the sexual reproduction is incorporated into the capitalist system through the maximization of the theory of value.
Author(s): Jovita Pristovšek
Title (English): Re/-Production: Identity, Queer, and Labor in the Work of Angela Mitropoulos
Journal Reference: Identities: Journal for Politics, Gender and Culture, Vol. 10, No. 1-2 (Summer-Winter 2013)
Publisher: Institute of Social Sciences and Humanities – Skopje
Page Range: 20-28
Page Count: 9
Citation (English): Jovita Pristovšek, “Re/-Production: Identity, Queer, and Labor in the Work of Angela Mitropoulos,” Identities: Journal for Politics, Gender and Culture, Vol. 10, No. 1-2 (Summer-Winter 2013): 20-28.
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Wargo, Jon M. "“Every selfie tells a story …”: LGBTQ youth lifestreams and new media narratives as connective identity texts." New Media & Society 19, no. 4 (October 23, 2015): 560–78. http://dx.doi.org/10.1177/1461444815612447.
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Drawing from a subset of data from a multi-year connective ethnographic study with lesbian, gay, bisexual, transgender, and queer (LGBTQ) youth, this article explores the scriptural counter-economy of composing new media narratives across online/offline contexts. Combining theoretical constructs from “multi-” literacy studies alongside visual and textual analysis, this article describes the influences of Web 2.0 technologies and photo-based composing tools on contemporary configurations of LGBTQ youth identity making. Giving visuality a place of primacy, this article focuses on two larger thematic findings: snapping selfies as sedimentary identity texts and curating lifestreams as operationalizing community. Focusing on how youth use these material, embodied, and visual texts to reinforce, challenge, combat, and/or resist identities of difference, this article considers how the so-called visual vernaculars and material texts of youth lifestreaming offer alternative conceptions to contemporary new media writing and storying of the self.
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Kmak-Pamirska, Aleksandra. "Góry: Zamkowa, Królowej Bony, Grabarka — symbolika „mniej znanych gór” w świadomości kulturowej w regionach wschodniej Polski na przełomie XIX i XX wieku." Góry, Literatura, Kultura 10 (May 25, 2017): 81–96. http://dx.doi.org/10.19195/2084-4107.10.7.
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The Castle Mount, Queen Bona Mount and Mount Grabarka — the symbolism of “lesser known mountains” in the culture of the eastern regions of Poland at the turn of the 20th centuryThe aim of the article is to examine the significance of “lesser known mountains”, namely Castle Mount, Queen Bona Mount and Mount Grabarka in the cultural consciousness of people living in eastern Poland at the turn of the 20th century Podlasie and Volhynia. In folk tales the symbolism of the mountains was associated with the extraterrestrial world. Mountains aroused fear; they were regarded as the abodes of evil spirits and places where souls of sinners did their penance and wandered. With time the symbolism of the mountains among people living in eastern Poland began to change. At the turn of the century attempts were made to rationalise the perception of nature as well as to tame it and subordinate it to humans. Examples of such an approach include Zygmunt Gloger’s ethnographic descriptions of e.g. Castle Mount near Drohiczyn. Queen Bona Mount was to be found in Podlasie and Volhynia. A literary illustration by Halina Micińska-Kenar, entitled Pod górą królowej Bony [At the Foot of Queen Bona Mount], explores fear of the unknown — a mountain dominating the town — as well as the path of humans’ spiritual development through overcoming their weaknesses and ascending the peak. Often mountains were also associated with divine locations. An example is Mount Grabarka Podlasie, from which flows a holy spring, symbolising a holy place and a place of remembrance. An analysis of the symbolism of the mountains in Poland’s eastern region shows what places were and are regarded as mountains as well as why and what significance was attributed to these “smaller mountains” in the cultural consciousness of people living in these regions at the turn of the 20th century.
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Garrouri, Sihem. "Mythologizing the Memory of Gloriana." Anafora 8, no. 1 (2021): 81–98. http://dx.doi.org/10.29162/anafora.v8i1.5.
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Consideration of Anne Bradstreet’s poem “In Honour of That High and Mighty Princess, Queen Elizabeth, of Most Happy Memory” (1643) draws our attention to the paramount significance of mythical imagery in shaping Elizabeth I’s posthumous reputation. The examination of this poem illustrates the ways in which Elizabeth’s memory is glorified and discusses the elegiac mythical reconstruction of her image by what Schweitzer aptly labelled a “gendered poetic voice” (307). This project shows that the poet makes good use of myth to write Elizabeth’s afterlife image. It scrutinizes Bradstreet’s mythological depiction of the last Tudor monarch, Queen Elizabeth I, illustrating how a woman poet rewrites the identity of a female sovereign. A close analysis of various mythical, elegiac images celebrating Elizabeth allows us to evaluate Bradstreet’s contribution to her myth-creation. It examines three mythical representations: Elizabeth as an incomparable leader, a Phoenix Queen, and a warrior Amazonian monarch.
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Sghroed, Caroline T. "Francia as "Christendom": the Merovingian Vita Dom.Nae Balthildis." Medieval Encounters 4, no. 3 (1998): 265–84. http://dx.doi.org/10.1163/157006798x00160.
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AbstractThis essay presents a discursive analysis of the Vita Domnae Balthildis, arguing that it depicts a new model of the Christianization of a kingdom and a new paradigm for the ideal ruler: a queen whose piety and humility lead to the political unification of her country and to its favor before God. First, the use of scriptural allusions portray Balthild as a servant of God in line with key biblical figures of Christianity's past. Second, the text depicts a Francia united in a way that diflers from previous literary models of Christianization, particularly those of Clovis and Constantine. Third, the model of royal, feminine piety is distinct from other Frankish hagiography. Balthild is the linchpin in God's salvific plan for Francia, which itself is envisioned as what later would be called Christendom.
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Alkharji, Saleh H. "Philip Sidney’s Stella: The Lady, the Countess, and the Queen." English Language and Literature Studies 11, no. 2 (May 17, 2021): 50. http://dx.doi.org/10.5539/ells.v11n2p50.
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In his poetic sequence, Astrophil and Stella (1591), Philip Sidney dramatizes his speaker’s romantic ambitions of climbing the Ladder of Love. While many academics interpret the sequence as a semi-biographical work, they disagree in evaluating how deep the sequence mirrors Sidney’s life. Traditionally, Astrophil is interpreted as a surrogate for Sidney and, more critically, Stella is read as a fictionalized version of Lady Rich. However, given the inconsistency of literary evidence, a new reading of the sequence emerged and argued that Stella is Sidney’s wife, Frances Walsingham. Although this paper agrees on the surrogacy of the speaker in the sequence, a closer analysis of the poetic language used in Sidney’s sonnets would contradict these Stella’s interpretations. Furthermore, as this paper cites historical documents that confirm the non-romantic relationship between Philip Sidney and Lady Rich, a closer examination of the sequence and the historical context of the Elizabethan Era would conclude that Stella’s real identity is far more complex and multidimensional than to be a mere fictionalized version of Lady Rich or Frances Walsingham. In fact, an investigation of Sidney’s personal life and a close reading of Astrophil and Stella would conclude that Sidney’s Stella is a masked version of Queen Elizabeth.